T OF 1833-191 Accessions CMljS r^ Shelf Xo. 4 g Feb 11 ^ WW -4 ADEC 13 Digitized by the Internet Archive in 2011 with funding from Boston Public Library http://www.archive.org/details/lifelettersoffreOOshie THE LIFE AND LETTERS OF FREDERIC SHIELDS THE LIFE AND LETTERS OF FREDERIC SHIELDS EDITED BY ERNESTINE MILLS WITH PHOTOGRAVURE PORTRAIT AND 41 OTHER ILLUSTRATIONS LONGMANS, GREEN AND CO. 39 PATERNOSTER ROW, LONDON NEW YORK, BOMBAY, AND CALCUTTA 1912 ■ All rights reserved CONTENTS CHAPTER I Parentage and birth — Hartlepool — The Spanish wars — St. Clement Danes Charity Schools — The Mechanics Institute — Maclure and Macdonald — Newton -le-Willows — Colouring posters — Worsley Hall and the Earl of Ellesmere— Death of father — Starvation — Baxter's oil prints — Bradshaw & Blacklock's — Housekeeping — Mother's death CHAPTER II Trade lithography — Edwin and Horace — Stott Bros., Halifax — First book illustrations — •" A Eachde Felley " — Ghost for the landscape painter — First water-colours — Sam Bough's commis- sion— Drawing for wood engraving — Manchester Art Treasures 32 CHAPTER III First sketching expedition — More water-colours — W. J. Linton's offer — "Whistle and Answer" — Eagged School teaching — Ill- ness and death of Edwin 46 CHAPTER IV Russell Street, Hulme — Picture hung at the Eoyal Institution — Illus- trated London Neics — The Pilgrim's Progress — Charles Kingsley's advice — Poverty — Death of Horace — " Vanity Fair " — Ruskin's praise — Eowbotham the picture dealer 58 CHAPTER V Eeturn to Manchester— Sketching in Cumberland — Designs for Defoe's Plague — Visit to London — William Hunt sale — First meeting with Eossetti — Madox Brown — Butterworth and his LIFE OF FREDERIC SHIELDS CHAPTER XVII PAGE Lady Mount-Temple and Mrs. Russell-Gurney — A visit to Babbacombe — G. F. Watts — The Rossetti memorial windows — The vicar's ob- jections— With Lord and Lady Mount-Temple at Broadlands — Mosaics at Eaton Hall — Windows at Cheltenham College — M'Lachlan's lawsuit — Sir Noel Paton's letters — Sir John Gilbert — St. Luke's, Camberwell — Memorial to Gordon Highlanders — Mosaic workers in Paris 278 CHAPTER XVIII Mrs. Russell-Gurney's dream — Search for a site — The disused mor- tuary chapel — The Jubilee windows at St. Ann's, Manchester — Window at Mere worth Church, Kent — To Northern Italy — At Pietra Santa — Letters from Italy — Mrs. Gurney's letters — De- signing the Chapel of the Ascension — The Madox Brown testi- monial— Correspondence with G. F. Watts — Address to Art Students — " Knott Mill Fair " — Holman Hunt's interesting ex- periences— Death of Madox Brown 294 CHAPTER XIX The chapel built — Mrs. Russell-Gurney's enthusiasm — Death of Christina Rossetti — Sir Noel Paton's letter — The opening of the chapel — Death of Mrs. Gurney — The new studio at Wimbledon — Letters from Lady Mount-Temple, Dr. Alexander M'Laren, G. F. Watts, Hall Caine— The Chancery suit— Illness . . 324 CHAPTER XX Exhibition at the Manchester City Art Gallery — Porlock revisited — Correspondence with Charles Rowley — Death of Dr. M'Laren and Holman Hunt — The chapel finished ..... 342 CHAPTER XXI Frederic Shields' will — Personal recollections 349 Index 361 ILLUSTRATIONS Frederic James Shields, 1903 (Photogravure) Frontispiece From a plwtograph by Elliot & Fry FACING PAGE Crow Tree Inn, ISTewton-le- Willows, 1848 . . .14 Pen and ink. Drawn at the age of 15 Sketch of an Old Man's Head 22 Drawn on brown paper. From a sketch book, about 1850 Street Sketch, Manchester ...... 30 From a sketch book, about 1857 Four Woodcuts from " A Rachde Felley's Visit " . 40 First book illustrations, published in 1856 Bobber and Kibs . . . . . . . .42 Water-colour. First exhibited picture, 1856 Early Portrait Study 46 From a sketch book, about 1856 Whistle and Answer ...... 4 50 Water-colour, 1857. By permission of J. Parkinson, Esq. The Beehive Maker 58 Water-colour. Hampshire, 1858 Study for Figure in " Sloth, Simple, and Presumption " 64 Now in the Victoria and Albert Museum. " Pilgrim 's Progress," 1860 The Hill of Caution . . . . . . From study now in the Victoria and Albert Museum. " Pilgrim's Progress," 1861 Christian at the Cross ...... From woodcut. " Pilgrim's Progress," 1861 \ 66 xii LIFE OF FREDERIC SHIELDS FACING PAGE The Robber Monk .68 Drawn on ivood. Published in "Once a Week." Sept. 1861 Vanity Fair 70 From the Drawing on wood (before engraving), 1861 Six Original Designs for Defoe's " Plague of London " — Published 1863. By permission of the Corporation of Manchester. Now in the Art Gallery, Manchester 1. The Decision of Faith. The Saddler of White- chapel reading the lists of mortality 2. Solomon Eagle .... 3. The Death op the First-born 4. The Plague Pit 5. The Escape of an Imprisoned Family 6. The End of a Refugee . 76 78 80 82 88 90 106 110 The Nativity (1865) One of our Bread Watchers Water-colour, 1866. By permission of the Corporation of Man- chester The Bugler 114 Water-colour, 1866. By permission of Sir William Houldsworth, Bart. Illustration for " Punch " 150 Original sketch, 1870; published 187 5. By permission of Messrs. Bradbury, Agnew & Co., Lid. A Winnington Girl 156 Water-colour. About 1873 The Artist's Wife . . . . . . . .164 Water-colour. Painted just after their marriage in 1874 Love and Time (1877) 210 Design for a Golden Wedding. By permission of Charles Rowley, Esq. LIST OF ILLUSTRATIONS xiii PACING PAGE EZEKIEL Design for the Duke of Westminster's Chapel St. James the Less >. 230 Design for the Duke of Westminster's Chapel at Eaton Hall, 1879-1880. From photographs by tlie Autotype Fine Art Co. , Lid. William Blake's Room, 3 Fountain Court, Strand (1880) 256 From the original sketch. By permission of Dr. Greville MacDonald Lazarus 262 Oil. Painted in Bossetti's Studio, 1880 ; now in the Chapel of the Ascension, Bayswater The Guardian Angel 266 Design for one of a series of Memorial Windows. From a photograph by the Autotype Fine Art Co. , Ltd. The Lady with the Jasmine 278 Water-colour ; nearly life-size. About 1888 Sketch op Rossetti's Room at Oheyne Walk . .291 Drawn from memory by Sir John Gilbert, R.A. Love 300 In the Chapel of the Ascension, Bayswater Designs above Gallery, West Wall op the Chapel of the Ascension ...... 306 Knott Mill Fair 322 Water-colour, 1869. Oil replica, 1893 The Despised Manna 326 From the Frieze in the Chapel of the Ascension, Bayswater The Good Shepherd . . . . . . .334 Wall painting in the Chapel of the Ascension {Ante-Chapel), Bayswater xiv LIFE OF FREDERIC SHIELDS FACING PAGE Man Repels the Appeal of Conscience . . . 344 In the Chapel of the Ascension, Bays-water, 1910 Man Hearkens to the Appeal of Conscience . . 346 In the Ante-Chapel, Chapel of the Ascension, Baystvatcr, 1910 The Chapel of the Ascension, Batswater (Interior) . 348 Forty-five Minutes' Sketch 352 Life-size water-colour head. About 18S7. By permission of J. Hyslop Bell, Esq. THE LIFE AND LETTERS OF FREDERIC SHIELDS CHAPTER I Parentage and birth — Hartlepool — The Spanish wars — St. Clement Danes Charity Schools — The Mechanics Institute — Maclure and Macdonald — Newton-le-Willows — Colouring posters — Worsley Hall and the Earl of Ellesmere — Death of father — Starvation — Baxter's oil prints — Bradshaw and Blacklock's — Housekeeping — Mother's death. "Oft so it is that long after a man's death some scribe, hunting after new subject matter, unearths a nigh for- gotten existence, and for lack of certain data and facts, produces, spite of all conscientious pains to revive a true image, only a travesty either on the heroic or contempt- ible side. Many are such biographies, presenting no credible glimpse of the once living personality, mere skins, stuffed with the writers' chaff in lieu of their sub- jects' personality, the marvellous triune being of body, mind, and spirit — : For who knoweth the things of a man, save the spirit of man which is in him ? ' And even so, how much may not be publicly told, even by the most candid nature ? How many follies and errors must lie covered ? These considerations weigh to induce me to set down some orderly relation of my years, which I may fitly head with the words of the prophet Jeremiah — ' It is good that a man bear the yoke in his youth.' " A 2 LIFE OF FREDERIC SHIELDS With these words, a few weeks before his death, Frederic Shields began the story of his life, having collected together many scattered sheets of reminiscences written at different times for various purposes, innumer- able letters, and a series of diaries extending over a period of more than sixty years. It seems fitting that one to whom he entrusted this varied collection, should endeavour to complete the task, for which there is certainly no lack of facts or data. Whether the facts will be only those which Frederic Shields would have wished to record, or how far the view given of that vivid personality will resemble that which he himself would have shown to the world, I cannot tell. But so far as is possible, he shall speak for himself, whether in the universal language, of which he was one of the greatest modern interpreters, or the forcible English in which, day by day, he recorded his life, from the time when, at the age of fourteen, he opened the shutters of his mother's tiny shop and spent his starved and strenuous boyhood in pursuit of his ideal. His grandfather, James Shields, was a sergeant in the Dumfriesshire Xight Dragoons, but almost the only fact recorded about him seems to be that in the reduction of the regiment in 1796 he was discharged. He died, leaving two sons, John and James, in the care of their grandparents, a Mr. and Mrs. Scott, who lived in the parish of Cardross in Perthshire, on a small freehold property of their own. The two boys early left their grandparents. James emigrated to America; John, the father of Frederic Shields, seems to have had a somewhat adventurous youth. He was a bookbinder by trade, and married in 1830, at the age of twenty-two, at the Parish Church, Heton - le - Hole, Georgiana Storey, a farmer's daughter and a native of Alnwick. Two children, who both died in infancy, were born in HARTLEPOOL 3 the following years, and on March 14th, 1833, Frederic James Shields was born at Hartlepool. Pigot's Directory of Northern Counties for 1834 records : — Habtlepool — Bookseller, Binder, Stationer, and Printer : Shields, John — Southgate. Libraries, Circulating : Shields, John — Southgate. Straw Hat Maker: Shields, Mrs. — Southgate. The house in which Frederic Shields was born has been identified as a printer's shop in High Street. From a printer's shop it became the General Jackson Hotel, which was not long ago pulled down to make room for a new fish quay. What strange combination of circumstances can have led to his father's next experiment in life we cannot say, but in 1835, when the British Government, by the repeal of the Foreign Enlistment Act, sanctioned the landing of ten thousand men from Great Britain, in aid of Queen Isabella of Spain against Don Miguel, John Shields left his bookbinding, his circulating library, his wife and his little son, and enlisted in the Scottish contingent under General Shaw. Many recruits from all parts of Scotland joined them, and they embarked at Greenwich on 19th August 1835, arriving in Spain on the 31st of the same month. A much worn and tattered document, written by John Shields, seems to recount his many grievances during his time of military service. After some preliminaries, it runs as follows: "It will. digress too much to detail the six general engagements, besides skirmishes, which we were in, also the hardships and privations that we endured without a murmur, until the period arrived that entitled 4 LIFE OF FREDERIC SHIELDS us to claim our discharge. As the expiration of our engagement drew nigh, and as little prospect of the war being near a termination, as when we first entered the service, we thought it proper to state, in the beginning of the month of September 1836, that we only enlisted for one year and therefore were entitled to claim our discharge, and intimated the same to Colonel Godfrey. On the 18th, Colonel Godfrey called us on to the parade, said there was a Board of Officers to sit in the convent in a few minutes, and that any of us who could prove by document or take an affidavit that he only engaged for one year, that he had instructions from Lieut.-General Evans to grant our discharge. Two hundred of us went before the Board and legally claimed our discharge, we were ordered to bring our arms, accoutrements, &c, and put them in Store. " On the 19th, those who had been before the Board the day previous were marched into Santander and quartered there, and to our surprise were kept as prisoners, part of the 9th Regiment doing duty over us. Here every means was tried to induce us to volunteer for twelve months more, and in many cases they succeeded, for a Spanish prison at best is more loathsome than any other ; and in this case our rations were curtailed. Our rations, when doing duty, were one and a half pounds of bread, one pound beef, and one pint wine per diem. By General Evans' orders the wine was stopped ; but in lieu thereof we should have a penny a day, but we did not receive it. When we had remained here for six days we were marched back to the Convent de Corbon, and were made to know what we should have to endure if we did not enlist for twelve months more. The English soldiers who did duty over us were removed, and were replaced by Spaniards, with whom, although fighting in the same cause, we were not on friendly terms ; and to increase the breach they were A SPANISH PEISON 5 told that we were mutineers, and if we attempted to pass our prescribed limits to run us through or shoot us, which- ever might be most convenient. It was not long before the hospital at Santander was supplied with six patients, who had been wantonly wounded by the Spaniards for no real cause. Thus was English blood spilt and English subjects maltreated to gratify the mere jealous passion of a Spanish country. The officers in charge of us were frequently changed, and they were mostly men of harsh and cruel dispositions ; there was one in particular, I do not know by what orders, but he did everything in his power to make us more miserable, using the most petty excuse for punishing ,and keeping our rations from us. On one occasion he punished some men for disobeying an order, which order was not read to us until we were on the ground, where the poor fellows suffered the horrid torture of the cat's tail. Without straw, or even a shirt to our backs ; without covering, the bare floor was our bed. No oppor- tunities for cleanliness were permitted ; soon we were overrun with vermin and became loathsome in our sight. When things were thus, we were visited by a medical officer, who seemed to commiserate us, and shortly after we received orders that we should embark on the 8th of December 1836, and in the most wretched state we were landed in England." Here the torn and faded document becomes indecipherable, save for the words : " This is all the return I have yet received for a year's hard servitude in a foreign land, having exposed myself to danger and death. Whether British subjects who left their homes with the approbation of . . ." The rest is missing. It appears to be an appeal to those in authority for arrears of pay. John Shields was twenty-eight years of age when he returned from the Spanish war in 1836. What reception he met with from his wife, his son Frederic, then aged 6 LIFE OF FKEDERIC SHIELDS three years, and a baby daughter, born a few months after his departure, is not recorded ; nor whether his poor wife, left alone with her straw hat making and her two babies, had not perhaps silently endured as much pain and priva- tion as the volunteer who so gallantly left them to enter the service of Isabella of Spain. We do not know how the next few years were passed; but in July 1839 we find mention of the birth of another son, Edwin, and the family is then settled in the parish of St. Clement Danes, London. John Shields was a man of strong artistic instincts, and in his youth greatly desired to be an engraver ; but his father, the Dumfriesshire sergeant, sternly refused to allow this, for two engravers had been hanged in Edinburgh for forg- ing banknotes, and he was determined that his son should run no risk of such temptation. The pent-up artistic instincts of John Shields found an outlet in later life in encouraging the genius of his son Frederic, who records the first lesson given to him at the age of six years : his father holding up to the window a print of T. P. Cooke, as William in Black - Eyed Susan, for the child to trace. In one of the sheets of reminiscences written by Frederic Shields he gives an account of his early home. " My mother had a store of stirring Northumbrian ballads (for she was born at Alnwick) that held my child- hood spell-bound. Fair-haired was she, with grey blue e'en, and features that must have been fine before the combined labour of dressmaking and the cares of a family ploughed her face. This business she carried on at 39 Stanhope Street, Clare Market, the first place I have memory of. This street, largely swept away now, though till lately (haply still) the old house stood, was bounded at the south end by Clare Market, the busy food mart of the poor ; and at the other by the Irish colony of Drury Lane. A little eastward lay the great square of stately BYGONE LONDON 7 Georgian mansions called Lincoln's Inn Fields, then so jealously guarded that once, flying my little kite there, I was hunted out of its precincts by the beadle, terrible in his cocked hat. For London was then a provincial city contrasted with its now palatial streets and roaring, hurry- ing, perilous motor traffic. There were no refreshment- rooms, save in back streets ; grimy and ill-kept coffee- houses where you sat within wooden partitions, with forms on either side, with the bar and cooking arrangements at the end of the shop. A chop or steak, fried liver and bacon, was the varied menu. The streets were filled with quaint cries, as ' Fresh country milk, bring out your pretty jugs and your ugly mugs — fresh from the cow-o ' ; or the seller of winkles : ' Win'kety, winkety, wink, penny a pint, twopence a quart.' Rowlandson's virile presentations vividly recall my young environment, and shame it is to English connoisseurs that the sentimental rubbish of Wheatley is preferably sought after. A wedding in the vicinity was often signalised by the butchers marching in procession to the festal house, clanging their cleavers with marrow-bones. While still a schoolboy I was introduced to an elderly gentleman resident in Maiden Lane, and his interest in my work drew out the gift of sixpence. I never saw him again ; but in that narrow lane had Turner been born, whose wondrous gifts were to set my mind a-quiver with joy in them in after days. What if I had found a Mr. Munro in this early patron — how different would have been my early youth ! " A cellar beneath my mother's shop was incongruously held by a blacksmith, and ever resonant with the strokes of his anvil. One or two apprentices helped her in the dressmaking, and the shop had a little triangular room behind, where meals were taken with my sister and two brothers — I being the eldest. The first story was occu- pied by a woman in charge of the property, and the attic 8 LIFE OF FREDEKIC SHIELDS was used by her son, a coster monger, to store his fruit in. The second story my mother rented, and used as our Sunday room. It contained some shelves of solid litera- ture, my father's gathering, some in rich bindings adorned by his own tasteful tooling. " In the attic, where I crept at every chance, neglected and mouldering in a large portfolio, were treasures of fine engravings after Fuseli, Stothard, West, Copley, and others. Strangely was thus fed my early passion for the world of Art. Over these I secretly gloated to my heart's content, and here also, feeding my imagination, were a dozen or so of old swords, of various designs, which I would wield as I attacked imaginary giants and dragons, images conjured from my mother's legendary lore, and fired moreover by the heroics of the Iliad, which at the age of twelve had become my favourite book. The London police, or 1 peelers,' as they were nicknamed, then used big wooden rattles for alarm. When I was at school, some fellow schoolboys with myself clubbed our pence to buy a quantity of 'red fire,' such as is used for stage conflagra- tions, and one night lit this at the further end of the deep arched entrance of a factory in Stanhope Street. Soon the crimson glow made the factory seem on fire, while we retired to watch the effect of our ruse, gleefully hailing the peelers' rattles which successively alarmed the neighbourhood, and were followed by their maledictions on the hidden tricksters. A few houses from my mother's shop stood St. Clement Danes Charity School, where some sixty girls, attired in quaint caps and blue woollen dress, were educated at the cost of the parish, while to an uncer- tain number of boys clothing and education — or education alone — was given." To this school went Frederic Shields, leaving at the age of fourteen, though at the age of thirteen he attended an evening drawing-class at the Mechanics Institute, APPRENTICED 9 Southampton Row, and gained a prize for a chalk drawing of a figure. Incessant use of the pencil had already won him the reputation of a draughtsman, and the habit of sketching any striking face or incident was begun in these childish days and continued to the end of his life. For several months after leaving school he worked daily in the Sculpture Galleries of the British Museum. It was already decided that he should follow some artistic profession, and he attended for a few months the School of Art at Somerset House, where a course of drawing of Greek out- line from the flat was, he considered, of inestimable value to him at that time. His mother had some slight acquaintance with Robert Carrick, who had then just forsaken lithography to apply himself to painting domestic subjects, and he kindly volunteered to give the boy a few lessons. So eager was the boy, that although Carrick lived so far away as Hampstead, young Frederic Shields was at his door before he had risen, and stood eagerly awaiting the draw- ing of the curtains of his room. But he did not gain anything from Carrick's lessons, save some facility in the use of Harding's conventional treatment of foliage. Through Carrick's influence, a place was offered to the boy as apprentice to a firm of lithographers, Maclure, Macdonald & Macgregor, the first three years to be with- out pay. He started work there on October 4th, 1847. To quote again from his own words :■ — " The firm shortly removed to the very shadow of Wren's noble steeple, Bow Church. Proceeding thither one morning, I had to pass the Holborn end of Newgate Street, filled with a surging mob, the attraction a black scaffold and a woman hanging from it. Happily our lads will no more see such a sickening spectacle. Crossing Cheapside I was knocked down under the feet of a 'bus 10 LIFE OF FREDERIC SHIELDS horse and dragged out by a lady, who, asking me pitifully if I was hurt, opened her purse and gave me a shilling — dear soul, strange to me ever, but for that one tender touch. For practice I was set to copy upon lithographic stone one of the cattle groups by Sidney Cooper, and boy though I was, looking now at a print of this attempt that I have preserved, I question if I could have made a closer copy at any period of my work. One of Douglas Jerrold's sons sat at the same bench, often dilating upon the superiority of his father's powers to those of Charles Dickens, and with us a brother of Fred Skill, an able magazine illustrator, and worshipper of John Gilbert. Through Skill I was moved to buy the London Journal and Reynolds Miscellany weekly, illustrated by Gilbert's facile invention, two most skilful wood engravers, Gorway and Hooper, rendering his swift, delicate drawing and his rich chiaroscuro with the most worshipful fidelity. No more, no more, shall we see the like ! Photography has swept this beautiful art of engraving on wood from the artist's line drawing away for ever, substituting its eye- scarring snapshot blocks, and wholly destroying what little sense of beauty dwelt in the public. Wonderful stories of Gilbert's swift dexterity were told — how an editor would send up a block to him at Blackheath, stipulating the subject to be designed, the messenger, who had been instructed to wait, returning with it completed." During the year 1848 Frederic Shields began keeping a diary, and the habit was continued, with more or less regularity, to the end of his life. The first book has inscribed on the fly-leaf: "Frederick Shields, from his father, who hopes to see it when filled, a precious record." It certainly records a strenuous life for a boy of fifteen. The entry for January 1st is as follows, written in a beauti- fully neat hand : " Got up 7.30. Cleaned my boots and THE LITHOGRAPHER'S SHOP 11 face. Then took down the shutters, got my breakfast, went to Mr. Maclure's, cleared up the shop, continued drawing the infant's head which I was busy at yesterday, finished it by 12 o'clock, began the tinting of some moun- tain scenery on stone. Mamma sent me my dinner, bread and roast veal ; continued tinting till 10 minutes past 4, when I left work and got home by 20 minutes past 4. Read Rob Roy Macgregor from Chambers' Tracts. Got my tea at 20 minutes past 5, went to the Mechanics Institute. The porter was in the library. I returned British Costume and got out the Pictorial History of Old England. Went into the reading-room, read Punch, and articles from the People's Journal. Got home by nearly 9 o'clock, went some errands for Mamma. Shut up the shutters, read part of Shakespeare's King Henry V. Had a slice of bread and butter and went to bed at 10 o'clock." Again we read : — " Wednesday, February 15th. — Got up at half-past six. Cleaned my boots and face, took down the shutters, got breakfast and went to work by eight. Rubbed down seven inks, drew the winged lion until one. Had dinner 1 lb. bread and a cup of coffee, came back and drew until 7, came home, got tea, read Coriolanus. Went to the Mechanics to hear Mr. Hatton's lecture on the music of Handel, Bach, and Mendelssohn. Came home, cleaned the knives and forks, brushed my boots and clothes, went to bed at 12. "Monday, 20th. — Got up, cleaned my boots and face took down shutters, got breakfast, went to work by half- past eight, rubbed down five inks, drew the weary soldier till one, minded the office and ran errands till half-past three, went to dinner, bread and coffee, came back and drew till seven. Came home, got tea, read Coriolanus, went to the Mechanics for the Human Figure class, paid 12 LIFE OF FREDERIC SHIELDS for the quarter 6d., outlined two hands, came home at half-past ten, cleaned knives and forks, went to bed at 12. " April 12th. — Got up at half-past four. Cleaned my boots and face. Lit the fire, took down the shutters, con- tinued my design of Hamlet and the Ghost. Got break- fast, and went to work by eight. Drew a ram's head after Cooper, went to dinner, bread and coffee, drew till seven. Went home, got tea. Read Sir Walter Scott on Demonology and Witchcraft. Went to Mr. Cleverton's lecture on Chloroform. A guinea-pig inhaled it, and a young man had a tooth taken out under its influence. Came home at half-past ten, shut up, wrote my diary and went to bed at 11." These are not exceptional days ; the record continues for months in the same terrible style — terrible, indeed, to think of a growing boy working at this pressure on a diet which mainly consisted of bread and coffee, for each day's dinner is chronicled and any variation from 1 lb. bread and coffee is an exception. No wonder that pathetic references to broken chilblains and other ills are frequent. Surely few boys of fifteen have left such a record. At St. Clement Danes schools the boys were marched to church three times every Sunday, and the habit of writing the texts and a short resume of the sermon was kept up by Frederic Shields for many years. Each Sunday is thus chronicled at the end of this little book. All this year, the father, owing to slackness of trade in London, had been in the North working for various firms, sending what help he could to his family in Stanhope Street. We hear of his going without a fire that cold winter, sitting with his feet in a pail of shavings to keep them from freezing. Times were very bad, and in June he seems to have made up his mind that he could no longer afford to keep his eldest son at unpaid work. John NEWTON-LE- WILLOWS 13 Shields had at that time found a post as foreman book- binder to the firm of MacCorquodale at Newton-le- Willows, and he sent for his son to join him, leaving the brave mother in London to support the three other children by her trade of dressmaking. There is no comment in the boy's diary, merely the fact recorded on June 5th, " left Mr. Maclure's." He seems to have then enjoyed a few days' relaxation — if relaxation had been possible to him at this time. Satur- day, June 10th, records : " Got up at six. Cleaned my boots and face, took down shutters, made breakfast ready, read the Player's scene from Hamlet to Mamma. Went to the Vernon Gallery ; stayed there until half-past twelve. Got dinner, boiled bread and milk. Drew Mamma's portrait till three, drew the Italian figure till five, and Charles I. parting with his family till six. Went several errands, read No. 1 of Mr. Fox's lectures on the Political Morality of Shakespeare's plays, picked the gooseberries, cleaned the knives and forks, washed plates, put my drawings right, wrote to my father, shut up and went to bed." Here the small, neatly written paragraphs cease ; the diary was apparently written for the benefit of his absent father, and as the boy joined him at Newton shortly after this, he presumably felt there was no need to continue the record. At Newton young Frederic Shields took whatever odd tasks could be found for him, colouring many hundreds of life-sized figures on posters advertising the tailor Hyam's suits, wandering about the country near, sketch- ing all that interested him. Careful pen and ink draw- ings of old houses at Newton have been preserved, made on his rambles in these new surroundings, which were so different from the murky Clare Market streets. His father directed his reading from an extensive and peculiar 14 LIFE OF FREDERIC SHIELDS selection of literature. In one month the following list of books read is given : — Life of Theodore Hook. The Tile Burner and his Family. A Word on the English and Scotch Criminal Laws. Eecent Revelations of the Microscope. Ben Jonson. Narrative of Frederick Douglas. Adventures in the Pacific. The Progress of British Art. Life of Blaise Pascal. Manners of the Chinese. Sketches from Flemish Life. Cobbet's Grammar, and A Visit to a Harem ! But the brave father evidently felt the hand of death upon him, and his anxiety was intense to find some per- manent situation for his beloved son. During his illness he seems to have written to his cousin, of whom he had lost sight since early boyhood, Dr. A. G. Scott, then of University College, and was deeply pained that no reply came. This arose from the loss of the letter, received just as Dr. Scott was removing from London to Manchester, a loss which Frederic Shields used to say "probably entailed years of misery to myself, for its object was to enlist the Doctor's interest in his boy, who he knew would soon be left desolate." At last the father found him a place at wages of five shillings a week with a Scotchman named Cowan, a mercantile lithographer in Manchester. Almost immediately the father's state became more acute, and he had to return to London alone, to seek admission to the Brompton Hospital. Frederic Shields wrote of this period of his life : — "Ina low quarter of the town, Cupid's Alley, I found a lodging at 2s. 6d. weekly, leaving 2s. 6d. for food and £ £ uj fc <_> W T3 W Jh H fc >» ^ -Q o a c4 ^ U a3 Q HARD TIMES 15 clothing. I used to buy a bag of Indian meal for the week, and this served for all my meals, while my dress wore shabbier and my shoes wore out with little margin to amend them. Then Cowan failed, and I was without any opening and friendless in the great city. I wandered from public-house to public-house, offering for a penny to sketch the profile of any man there, but few were my paltry gains." One day he wandered to Worsley and sketched the hall and the church. He writes to his father : — Manchester, August 2nd, 1849. My dear Father, — I received your kind letter on Tuesday. I have also to thank you for the Illustrated News you sent me. It -is a splendid number ; the prize cattle, and the views of the cascade, and the Gap of Dunloe are worthy of any work. Often as I lie in bed I think of your thin body and face, and in my fancy see you beside me. Are you getting any stouter with your increase of strength ? I wish to God your cough was well, then you would soon recover. I hope to hear of your admission into the Hospital next letter. I intend to go down to Worsley in the course of two or three days with my drawing of the church. I hope that I may see the Earl or the Rector. I have got some jobs at ticket designing for a private printer named Bardsley, in Oldham Street, and several portraits, at which I have improved wonderfully. Regrets are useless now, father, but still I wish I could get apprenticed to the woodcutting, the lithog writing, or even the bookbinding. O, how I wish I could get to the painting under a good master. Tell me always how you are. — I remain, your affectionate son, Frederick James Shields.1 Worsley Hall seems to have been a promising sketch- ing ground, as the next two or three letters relate. 1 It is perhaps a point of interest to those possessing early drawings by Shields, that until about 1864, he signed his name " Frederick," sub- sequently he omitted the final letter. 16 LIFE OF FREDERIC SHIELDS Manchester, October 2nd, 1849. My dear Father, — I received your kind letter of the 27th ult., but I thought I would not answer you until I had seen either the Earl or the Rector. I went yesterday to Worsley, and saw the Rector; he told me to make him another drawing of the church, in addition to the one I have already done. He gave me a shilling. At the lodge I found my endeavour to see the Earl would be fruitless, as the Duke and Duchess of Gloucester, Lord Wilton, and several other of the nobility were dining with him that day. In a week I will go down again. O father, you know not what pleasure it gives me to know that you are better ; God grant that you may con- tinue to progress towards recovery and go forth from the Hospital with a thankful heart for God's mercy. I get 4s. to 6s. for portraits, according to the style they are done in. I thank you, father, for your kind considera- tion, but I have got a good pair of boots. I am sorry to tell you that I am about 12s. in debt, but by the efforts I am making I hope soon to be free. There is a young man named James Tait, a Scotchman, lodging here. He is a painter, and his father is in busi- ness for himself in the same line, in the small town of Gatehouse, in Kirkcudbright. He is out of work just now and thinks of returning to Scotland. He has offered to take me with him to Gatehouse and apprentice me to the painting and graining with his father, providing me with meat, lodgings, and clothes. Of wages he can say nothing until he asks his father. I would wish you to weigh well this offer before you return any positive answer. Adieu, dear father, for the present. — Your affectionate son, Frederick James Shields. Manchester, November 18th, 1849. My dear Father, — It is the old prologue " I went to Worsley " again, but I am happy to be able to add that the performances on this occasion were of a very novel kind. Upon my arrival at the hall, I enquired for the steward, Mr. Rasbotham, and was informed that he had gone to his own house in the village. I immediately THE EARL'S STEWARD 17 repaired thither. He was at dinner. The servant under- took to announce rny name, and returned with the kind answer that I was to have something to eat and drink, and that he (Mr. Rasbotham) would see me afterwards. I had a capital dinner (at tea-time) of roast beef, boiled salary, bread, potatoes, &c. The servant then told me that Mr. Rasbotham was waiting for me. But before I proceed further, I must ask you if you remember the large sketch of Shakespeare which I did at Newton. Be that as it may, I have since made a large drawing in chalk of the same subject. This, together with a portrait and some smaller drawings, I took with me to show him. He took them into the dining-room to let the company see them, and asked me what would be the price of a copy of the Shakespeare. I scarce knew what to ask but at last I said ten shillings, which I did not consider too much, as there is four good days' work on it, besides materials. He said he would see about it. He then said that the Earl did not see how he could be of any assistance to me with regard to a situation, but he would consider the matter. In the meantime his lordship wishes me to do a drawing of the Church for him in pencil. Now for the grand climax, the last scene of all. Mr. Rasbotham put his hand into his pocket and asked if a trifle would be of any service to me, at the same time putting into my hand half a sovereign. I thanked him almost with tears in my eyes, so kindly and con- siderately was the action performed, took my leave and walked home praising God for His great goodness in having found me at least a temporary friend. You ask if my landlady trusts me. It will give you great pleasure, I know, when I tell you that for nearly a month, when I only brought a few shillings, she never grumbled. It is true, she is a little hasty at times, but she is good at heart, and I can put up with her. My dear father, you ask me to tell you all my wants. Believe me, my chief want, I might almost say my only one, is you, for I cannot speak in a letter as I would if you were beside me, for when I sit down to write, it chills the heat and fervour of what I could wish to say into an arctic coldness. I know well what must be your feelings concerning me, B 18 LIFE OF FREDERIC SHIELDS you could swallow all, ah ! and much more than all, that I could tell you, at least so I feel with regard to you. — I remain, your affectionate son, Frederick James Shields. The father, now in Brompton Hospital, is evidently worse, and soon to be discharged as incurable. Manchester, November 21th, 1849. My dear Father, — I received your kind and affection- ate letter. I am grieved to hear that you have been worse again. Oh ! tell me whether you are better. It gives me the greatest pleasure to know that Dr. Roe is kind to you, God will reward him. I went to the Hall yesterday, the day appointed. I was shown in to Mr Rasbotham, whom I found seated at his desk writing. Upon my entrance he rose, and bade me good morning. I returned his salutation. We then proceeded to business. He seemed to like the view of the Church very well and took it in to show his lordship. He returned with the gracious information that his lordship was very well pleased with it, and that I was to execute two more views of the hall, to be sent down to the house in London, 10 Belgrave Square, where they intend proceeding on Friday. He then gave me £2 for the view of the Church, and I consider that I was exceedingly well paid. I am glad that I left the Shake- speare with Mr. Rasbotham, this time he told me he should consider the ten shillings he gave me as an equivalent for it. I gratefully acceded. I have great pleasure hi being able to send you an order for ten shillings payable at the Brompton Hospital. I send you a rough sketch which I took of John Bright, M.P. — I remain, your affectionate son, Frederick James Shields. I thank God that I am out of debt. WORSLEY HALL 19 Manchester, December 2nd, 1849. My dear Father, — I received your wished-for letter on Thursday morning. On that day I went to the Hall with a portrait for one of the servants. They were all very busy making preparations for the Earl's departure. I believe he is in London by this time. I have not yet taken the sketches of the Hall, for I did not like to be seen cutting and capering about the grounds adjacent to the Hall in search of a point of view while the family were at home, but I intend making them to-morrow. It will be cold work taking them, but that is not the worst of it. I shall have to turn the leafless, skeleton-like trees of winter, into flourishing summer plants heavy with foliage, a somewhat difficult task, but if I succeed in it, the more triumph. They shall be done on tinted drawing board. Oh ! father, if you had been at my side when I received the money, and been able to see as it were through a glass into my mind, you could not better have interpreted my feeling than you have in your last letter ; which I have read over and over again, until it has almost made me cry, teeming as it does with kindness and affection. But you say you cannot think of accepting the money ; believe me, father, you could not hurt my feelings more than by returning it. My only grief has been that I have never been able to send you anything before, and my present grief is that I am not able at present to send you more. Think you I can forget one who, with disinterested affection, sent me money so often, when he himself so badly needed it. I pray God I may never be forgetful and ungrateful, and do I not respect Gibson (whose portrait and life you were kind enough to send me) the more for that, in the words of his biographer, " in affluence at Rome he never forgot the duty of sharing his means with his parents in Liverpool." I have been enabled, too, to buy myself a new waistcoat, two pair of stockings, two cotton handkerchiefs, and a pair of woollen gloves, so that you will perceive that I am not in immediate want for anything. You say well ! How often have I sighed, vainly sighed, even as you now sigh, for a repetition of the happy evenings we spent at Newton. It is only when in adver- 20 LIFE OF FREDERIC SHIELDS sity that we know the value of health and prosperity. Write soon. — I remain, your affectionate son, Frederick James Shields. Manchester, December l&ih, 1849. My dear Father, — I received your kind letter, return- ing the money order, this morning. I have been induced to accept the money, the more especially as you say you are not in want of anything, and yet (forgive me for it) I scarce know whether to believe you or not, I know so well your self-denying love. You say you have no fire, for the love of God try to get some. Will the landlady not let you sit at hers ? how do you spend your time, have you any books ? I would have liked to have sent the sketch of the Hall to you with this letter, but that I am not finished with it yet, it would give you an idea of the place. It is a very elaborate building in the Elizabethan style. My dear father, do not grieve about me. Here I am not as I should like to be, but thank God I am not so bad as your fears lead you to suppose. On Monday I got six shillings for a portrait of a child, on Tuesday, sixpence and my tea for a sketch of a head, and to-day I shall get two shillings and my dinner and tea for another portrait, a small one, and last night another sixpence for an hour's tuition in drawing. So that I am not so badly off as you think, and I beg of you, dear father, not to make yourself ill concerning me. If you were well and by my side, I could endure ten times the misfortune I am now subject to with pleasure. — Your affectionate son, Frederick James Shields. He was at this time sixteen years of age. For the two drawings the Earl of Ellesmere paid the boy the — to him — fabulous sum of five pounds, and he also drew the portraits of several of the servants at the Hall for five shillings a head. But this could not last, and no one seems to have heeded or inquired what prospects the boy had. So he wandered back to' Man- A STRUGGLE FOR EXISTENCE 21 Chester, and suffered every misery of cold, loneliness, and starvation. His father, discharged from Brompton Hospital, died, having succeeded in obtaining, a few- weeks before his death, a situation for his son at Brad- shaw & Blacklock's, at a salary of seven shillings a week. Frederic Shields shall tell the story of this period in his own words. "Here, in the extremest drudgery of commercial lithography, I endured daily torture of mind, suffering also from a disease, brought on by semi-starvation, which sapped my strength for four years, and made me of sad aspect. A broad black ribbon round my face supported the lint applied to a running ulcer which plagued me for many months. The kindness of Dr. Whitehead eventually cured me of this affliction, which had made me a shamed and marked youth wherever I went. Months passed in this new circle of misery and then I was dismissed for inability to execute, with sufficient nicety, repetitions of bobbin tickets ; some eighty on one cold stone to be neatly painted with the brush for printing from. Conceive the dull round of agony ; suffering as of the victim of Inquisition under the slow drops of water falling on his chest. In vain I strove to satisfy the foreman, for my heart loathed the task, so again I was without means of breadwinning. " Mr. Blacklock, discovering after my dismissal that I had talents unexercised in his service, asked me to make two large drawings of the exterior and interior of McCorquo- dale's works at Newton. The interior entailed much in- tricate drawing of machinery, of the bookbinding and type- setting departments with the men at their employment. During the last three days of this work I had not a fragment of food, and worked in hope of the paltry payment I received from that wealthy business man— seven shillings. I re- 22 LIFE OF FREDERIC SHIELDS member tramping to Liverpool, thirty-two miles by road, with a few pence in my pocket, and back without any, in search of work. On my way a tramp begged from me : ' Master, I'm clemming.' I could but answer, ' So am I.' Returning, I reached Bootle (midway to Manchester) foot- sore and penniless. I looked at a wheatfield, stacked with new-cut sheaves, and thought to sleep among them ; when a band of Irish reapers stopped me, demanding with half threatening humour, ' Are you a Ribbandman or an Orangeman ? ' I knew not the distinction, and could only reply that I was a poor lad, hungry, weary, and shelter- less. ' Bedad, then, come along with us and get a plate of porridge into ye.' They took me to a large farmhouse kitchen, fed me as they had proposed, and then took me into the great raftered room above, spread with many mattresses on the floor, where, sandwiched between two strong harvestmen, I slept off my exhaustion ; and after a morning plate of porridge and many hearty expressions of goodwill from my benefactors, I resumed my tramp to Manchester. My heart warms to the poor Irish from that day, and I have known many worthy of deep esteem. But still I had no employment. What to do ? I thought of my father's friends at the Newton works — poor but warm-hearted ; they might show me kindness. There, at the tariff of seven shillings a head, they found me physiog- nomies enough to keep my pencil busy for months. They were drawn on tinted paper, life-size, in black and white chalk with a little red. Excellent practice and joy deli- rious after the grinding bondage of bobbin tickets, daily to strive to catch something of the grace or strength of Nature's most exalted work. But the mine of the little town grew exhausted, and at this juncture old Bradshaw, the Quaker partner in the Railway Guide printing firm, sent for me and said, ' Dost thou think thyself able to design for Baxter's patent Oil Painting Process ? ' Mod- Sketch of an Old Man's Head About 1850 BAXTER'S OIL PRINTS 23 estly but confidently I replied, ' Yes.' ' What wages wilt thou require ? ' Seven shillings a week had I received at bobbin tickets, and I dared to ask ten shillings a week for the coveted post of designer, and returned to my old shop in honour. The despised became a head, with a little room to himself where no defilement of bobbin tickets ever entered ; and I revelled in gleaners, and milkmaids, and rustic lovers, and a box of colours for the first time." Out of this scanty wage he saved enough to pay the evening class fees for three months at the Manchester School of Design. An anecdote shows how overmastering was his habit of sketching. One night the " Perspective " teacher was demonstrating on the blackboard, perched upon an unsteady erection of boxes. This suddenly col- lapsed, and the lecturer lay stretched insensible upon the platform. Most of the students rushed to his assistance ; but Frederic Shields, fascinated by the dramatic effect, remained in his seat carefully sketching the scene. The comparative prosperity of Bradshaw & Blacklock's did not last long, for this firm also failed, and the boy began to fear that he brought ill-luck to his employers. However, having gained something of a reputation as a designer, he obtained another situation with a firm named Dubois, at the substantial wage of 25s. a week, to design for what was known as the ticket trade — tickets of various designs to be attached to textile fabrics. Some of these early drawings, which have been preserved, were shown at the Memorial Exhibition of Shields' work in London, 1911. At this time his mother's health was rapidly failing, the little sister had died, and the struggle to maintain the two younger children was daily becoming more acute. She seems to have made a desperate attempt to cure her illness by going for a few weeks to the Isle of Wight ; and some pathetic letters, preserved by her son, faded and dim with age, tell their own tragic tale. The first letter is written 24 LIFE OF FREDERIC SHIELDS on a sheet of paper headed with a print of Carisbrook Castle. Newport, July 25th, 1853. My dear Son, — I should have written to you sooner, but I have been very ill ever since I have been here, most of my time in bed. But this day I feel a little better, and may it please that great God, Who is the best Judge for us all, to spare me a few years longer for my poor boy's sake. I cannot keep my mind easy about the children and home. Only think, my Fred, how my home is left with a few girls who mind not my interest, and if it please God to spare thy mother to go back that place will kill me. What am I to do ? Oh God, direct me, for I am weak in myself. Freddy, this is the castle that Charles 1st was confined in before he was taken to execution ; and there is a well three hundred and fifty fathoms deep, it supplies all the town of Newport with water. You must write to me, and that soon, for I am very dull. Direct to me at Mr. Hans- ford, Castle View, Newport, Isle of Wight. I will feel disappointed if I do not hear from you in a day or two. Remember thy mother is ill and cannot bear anxiety. Take care of thy health. God bless you, my Fred. — Your affectionate mother, G. Shields. The " girls " referred to were those apprenticed to her to learn dressmaking. Manchester, July 27th, 1853. My dear Mother, — I wrote to you on Monday to London, for I was afraid you were worse and could not write. Oh, mother dear, I feel so anxious. You never wrote either to tell me if you were not coming to Man- chester, and I half fancied you meant to surprise me and come down without telling me; and I looked at every female I passed as if I expected every one of them was you. It is indeed as you say, mother, if you go back to that smoky, confined little crib of a shop it will kill you ; now, mother dear, I have often talked to Georgiana about you coming down here. I do not know whether I ever mentioned it to you before. I told you in my last I had MOTHER AND BROTHERS 25 taken a house, with a friend who was going to lodge with me. Well, it is what we call here a large house ; it contains five rooms, a kitchen, a yard, three cellars. Well, Scott, my fri nd, is not going to stop in Manchester ; and, of course, if you could come down with the children and stay here, there is room and to spare, I should say, for all of us. It is a very healthy part of the town. You might sell such furniture as you could easily replace here. I have said, I believe, for the best for us all. God order it so in His infinite wisdom. Write soon, I pray you, in order that I may know what you have determined on. The time and the hour demand decision. . . ." The rest of this letter is missing. In the mother's absence the two little ones at home seem to have done their best to alleviate her anxiety. Edwin, the elder, writes as follows : — London, Wednesday, July 20th, 1853. My dear Mamma, — I received your letter this morning, and am sorry to hear that it was such a bad passage. You did not say whether you were sick or no. Tell me whether you think the place will do you good and whether it is a nice place. You say that the expense was great ; how was that ? Is the things dear there ? We are getting on quite well and are very happy. We shall be able to send you some money soon. Tell me how I am to send, if I am to go to the Money office and get the order ; please tell me where it is. On Monday Mr. Collins called and said he had got a place for me at Mr. Smith's in the Strand, a newspaper agent. I went to school, and he gave me a letter and told me to take it to Mr. Ellerman the overseer. I took it in the evening, but the overseer told me Mr. Smith was not in. I am to go in the morning at 11 ; but Mr. Spiller does not seem to like to let me stay away a morning to go there, and if I don't look after the place I shall offend Mr. Collins, so that I know not what to do. Pray write and tell me what I am to do. We have had three dresses in and a body, and a muslin one to repair. We have had the dress back from Poppy's to have eight yards of lace in it. Will you tell us in your 26 LIFE OF FREDERIC SHIELDS next letter what you charge Miss Broad for a barege dress, because Jane has got one to make on Tuesday. We have made the little frock for Burton's and they were very pleased with it. Rhoda works very nicely while you are away. Horace and I are very saving, and shall soon be able to pay debts, Jane says. Mrs. Parker don't get on so well as when you are at home. I hope that you will get well by God's mercy. — I remain, your affectionate son, Edwin Shields. It surely speaks well for the instruction at St. Clement Danes Charity School, that the boy — then aged about thirteen — could write such a letter as this without any mistake in spelling, in a neat, boyish hand. He evidently had his eye on the business and the apprentices in his mother's absence, and the "very saving" ways of the little brothers give a sad insight to the privations they all suffered in those days, and their precocious knowledge of the difficulties of life. The mother wrote again to Frederic from Newport. "Now, my dear son, about my coming to Manchester, it requires some thought. First place, how shall we all live if I am not able to work ? I might not be able to do so. The brokers give so little for what I might sell, it would be a mere nothing. If I could get a few pounds for the business it would pay my expenses down there. Horace is not done with his schooling, but we might get Edwin into something, and I might be better with the help of God. But I am very bad, dear Fred, I am afraid I shall not be able to the task of moving. You ask what the doctors say; one said it might turn to consumption, another says it is not. There is one thing I know myself, that this consuming fever is eating flesh and bones. I have lost all my strength. I am not so strong as a child, my bones are sore. I know not how to lie in bed, I turn and twist, seeking for rest and cannot find it night after night until daybreak. I have cramp in my hips and in my feet. My beloved son, I have only given you about the half of my ills — I think I hear you say I have said HOUSEKEEPING 27 enough, but you asked for it. I mean to wash my arms in the sea, it may put some little strength in them. If you think we could do, I think how happy I could be with my three sons, if it was the Almighty's Will. Oh, my son, pray for thy weak mother. I mean to try a place called Ryde, about seven miles from here, it is a small seaport. If I find I get better in a few days I will return home. Nothing in this world would give me more pleasure than to have you here. You would see mountains too high to climb. " May God protect you, my good boy, is your poor mother's prayer." The friend with whom Frederic Shields had taken the house was a young man named Eugene Montague Scott, whose acquaintance he had made at the School of Design. The son of a portrait painter, Scott was one of the first friends made by the lonely youth in Manchester. Shields was introduced by Scott to his sisters — Emily, described as "a charming personality with long raven curls descend- ing in womanly winsomeness on either side her high brow," and Isabel, who had a rare gift for design — remembered always as the first ladies who had ever received him on terms of friendship. They formed a little sketching circle, each member engaged to produce an original design once a month. When the family went to London, the son proposed staying in Manchester, and as, in contrast to Frederic Shields, young Scott was of a gay and flighty disposition, his parents doubtless thought that the in- fluence of a young man of such strict views might be good for their son. However, the arrangement fell through, and young Scott was eventually sent abroad by his parents. Manchester, ith August 1853. My dear Mother,— I scarcely know with what to begin first, I have got so much to say. But about your illness, I am so glad to hear the doctor said it was not 28 LIFE OF FREDERIC SHIELDS consumption yet, although it might turn to it ; that, with God's help, must be prevented. 0 ! what you must suffer with no friend or relation near you. . . . You ask, mother dear, how we should all live if you were not able to work. Since I have gone back to work, I have been getting 31s. per week, and but that I was in debt through previous slackness and bad wages, I should have been able to do much. In about a month I shall be completely out of debt, and then 26s. is yours every week, God pleasing to keep me in work. With that I think we might manage, and we might get Edwin, I feel confident, into many things here. As to Horace, you could get him out of school whenever you please, I suppose. If you could get a few pounds for the business, it would be a great help ; you must try, I think it may be done. Would it be better to sell your things to a broker or to bring them down here by rail ? The rent of the house is 7s. per week, including taxes. Coals are only Qd. and Id. per hundred here. I will take a walk over the house with you now, dear mother, by your permission. Cellar for coals, cellar for washing (of course that we would send out), with a boiler, and fireplace, and pipe water-tap. Back cellar with a shelf suspended from the ceiling to keep meat cool in hot weather; both cellars 12 ft. by 12 ft. We then go upstairs and arrive on the Ground Floor, kitchen, with rainwater tap, slopstone, fireplace, and oven, and small safe. Back yard, 13 ft. by 7 ft., with back door to step out by. Back parlour, with drawers, cupboard, and fire- place. Front parlour, fireplace and cupboard, large plate- glass window, and inside shutters ; both parlours 13 ft. by 10 ft. We then pass into the lobby (in which there is a row of seven pegs for clothes) and upstairs. One small bedroom, one large bedroom with cupboard, large front room with cupboard and plate-glass windows. So now, dear mother, I have shown you our establishment, and you can tell me in your next what you think and whether it will suit you. ... I trust you will try to write to me by Monday, for I shall be very anxious. My love to my brothers. May God restore you to health I pray, through Jesus Christ, Amen. — Your affectionate Son, Frederick James Shields. FAMILY PROSPECTS 29 A pathetic reply was written by the mother, in which she sadly inquires, " How shall I feel, dear son, to take thy wages, or how will you like to give them to me ? " Her son replies : — " I would have written an immediate answer to your letter, but that I have been very busy at home and in the shop. You say ' how will you feel to take my wages.' I don't know, but I know you ought only to feel that I am your son and that it is my duty. For myself, I shall but feel thankful to God Who has placed it in my power to aid my mother. You asked in one of your letters how we should all live if you were not able to work. I think, dear mother, we should stand as good or better a chance of living down here in such a case, than in London. As regards selling the business, £15 is certainly very little for it, but I cannot help thinking that it would be better to take even less than that, if necessary, than to postpone your departure from that little smothering hole. You say the suspense and excitement make you worse, ah I so it will ! Tell me in your next what you wish on your signboard, if you please, dear mother, I think we had better put ' Mrs. G. Shields, dressmaker, from London,' and after that what you please. Heaven bless thee again, we shall soon behold each other face to face." His 'mother writes again to say that she has not told him that all the streets in London are having new drains connected with each house, and that for three months Stan- hope Street has been up thirty feet deep — she finds that it is hopeless to attempt to sell the business under these circumstances, and agrees to come to Manchester at once. Frederic Shields had made a stipulation with his employers that when business pressure did not demand early attendance he should be free to arrive at work at any time not later than 11 a.m. Not that he had forsaken his habit of early rising, but that he might be free to sketch any incident or character that struck him in the 30 LIFE OF FREDERIC SHIELDS streets on his way to the shop. He used in after years to say that the streets were his school of art, and that to this habit he owed much of his swiftness of perception and execution. His firm was situated very near to the Theatre Royal, and in the theatre also he made many sketches until he began to fear that attendance at the theatre would imperil his soul, a conviction which he retained, more or less, to the end of his days. Late in life he wrote : " The evil seed sown in me when a child — a relative having thoughtlessly taken me to the pantomime in London — grew into an overshadowing passion for the theatre. The good seed of my godly old schoolmaster was not altogether expelled by it, sometimes I experienced searching heart questionings on this matter which would not be silenced, and gradually so worked within me that, as a young man, I have sat in the Pit, seeing not, hearing not, save the stirring Spirit of God bringing me into con- demnation for refusing to yield up my darling pleasure, whilst I trembled with fear for disobedience. At last I yielded partially, making a compromise that I would cease regular attendance, and be present only on those occasions when Helen Faucit, that supremely gifted actress, came to Manchester. But the voice would not be silenced, and at last I utterly broke from the toils, and resolved to visit the theatre no more, no matter what temptation it held out. Then peace flowed into my soul. Few of this age will read this with any understanding, but I know this passion for theatrical entertainments was gradually eating away all spiritual desires, and that, 'If any man love the world, the love of the Father is not in him,' and that indulgence in it would have made me unfit for the labour God purposed for His servant eventually." Oddly enough, many years later, he showed his de- votion for his friend, Rossetti, who was very ill at the AY C\ n: . A Street Study Manchester, about i8;7 MOTHER'S DEATH 31 time, by going to hear Gilbert and Sullivan's comic opera, Patience, hearing it in misery and horror, no doubt, only that he might be able to relieve Rossetti's morbid fear that he was caricatured and held up to ridicule in the play. Probably no service ever asked of Frederic Shields by Rossetti cost him more suffering than did that evening's entertainment. To return to Clopton Street, Manchester, in 1853. His mother arrived in September with the two little boys, but after a few months of patient suffering she died. The diary for this year is missing, but some pencil notes on a faded sheet of paper record the fact of her death, ending pathetically, " her last dear words, ' remember me some- times.' " CHAPTER II Trade lithography — Edwin and Horace — Stott Bros., Halifax — First book illustrations — " A Eachde Felley " — Ghost for the landscape painter — First water colours — Sam Bough's commission — Drawing for wood engraving — Manchester Art Treasures. Frederic Shields was still working for the firm of Ernst in Oxford Road, and in 1854 had secured a place for his brother Edwin in the same firm in some humble capacity to do with trade ticket printing. But the boy — then aged fifteen — was evidently unable to adapt himself to his new surroundings, and doubtless the strict rule of his brother was a great change from the loving devotion of an indul- gent mother. So Edwin ran away to London and sought work in the neighbourhood of his old home. Any efforts made by his elder brother to trace his whereabouts were apparently of no avail until the following year, when, at the end of April, the younger brother, Horace, also ran away to London to seek Edwin and employment for him- self. Frederic Shields had evidently written to their schoolmaster at St. Clement Danes. This gentleman was apparently a stranger to him, his old schoolmaster, Mr. Thomas Davis, for whom he always cherished the deepest regard, having retired some time before. The following is the reply : — St. Clement Danes Charity Schools, May 27th, 1855. Dear Sir, — About a month ago I received a letter from you, enquiring about your brother, Edwin Shields, formerly a pupil in the above school, and requesting me to make enquiry after him. I have done so, and with 32 THE LITTLE TRAMP 33 success. I find that he has got a comfortable situation at Mr. Watts', 63 Lincoln's Inn Fields. I must beg you will pardon my seeming indifference to your letter, exem- plified in the delay that has taken place, when I tell you that I have not only found out Edwin, but Horace also. I am trying to get him into the establishment of a re- spectable butcher in our locality, where, should I be suc- cessful, I am sure he will do well. Having known so long their poor mother, and knowing also her to have been a woman of a very superior mind, and one whose whole life was bound up in her children, I have taken more than ordinary trouble, and feel rejoiced in being able to give such information to you respecting them as may ease the harrowing feelings of a kind brother, and allay that intense feeling that you must have experienced at their departure from you. It appears that Horace left last Thursday week with a shilling only in his pocket, that he was five days and a half travelling to London, that he slept in barns, stables, and outhouses belonging to different farmers whom Provi- dence threw in his path. I have given him a pair of shoes, and his brother Edwin has supplied him with re- spectable clothes. May the God of heaven, Who is indeed the Protector of the fatherless orphan, watch over them and guide them safely through the waves of this wicked world, and bring them in His own good time to the land of everlasting life. — I beg to remain, yours very truly, A. W. Collins. So Horace Shields, aged thirteen years, tramped alone from Manchester to London, his heart sore, we doubt not, at the loss of the mother who had loved him so dearly, and who described him in one of her letters as " such a good boy, quite a little servant to me when I am ill." Nearly sixty years ago, and yet who can think of it without a heartache for the forlorn child sheltering in the dark nights in barns belonging to the different — or rather indifferent — farmers " whom Providence threw in his path." Doubtless the little lad, with his mischief and 34 LIFE OF FREDERIC SHIELDS irrepressible spirits and pluck, had been a hard trial to his pious brother, but had he been given the training and environment which ought to be the birthright of every child, he might have made a fine citizen. Apparently the first situation found for him was not a success, for in June a brief letter from Edwin gives an account of him. 4 Lincoln's Inn Fields, June Uh, 1855. Dear Brother, — I write to tell you, as you wanted to know, how Horace is getting on. I am very glad to say he is in a good situation, though he was very badly off at first. He is now at a printer and compositor's in Fetter Lane, and if he suits he is to be taught the trade and have his board and lodging. I am very glad that you are busy and hope you will continue so. — Hoping you are well, I remain, yours affec- tionately, Edwin. 37 Albekt Grove, Manchester, June 25th, 1855. Dear Edwin, — I should have answered you before, but I have been waiting in the hope of being able to send you some money for Horace, for although you have not told me explicitly how he is situated, I daresay he wants it, but for this last three weeks I have drawn so little money that I have not even been able to keep out of debt. I cannot get many people to pay me when my work is done. It is now so long since you saw fit to leave me in a most wicked way, as if at that time I had not sufficient to put me about, and to leave me for a year without the slightest information about you until a few weeks ago, and then I received half a dozen heartless lines notifying to me — and still without a word of information about yourself — that your young brother had followed the bright example you had set him, and left the house of the only person living with any right of authority over him. As I have never received any explanation of your running away, and am at a loss to conceive any, except it be my prohibition of such cups of iniquity as Reynold's Miscel- THE AFFLICTED BROTHER 35 lany, &c., and the substitution of works calculated to im- prove you, not to debase you, I shall be obliged if you will let me have those reasons, such as they are, detailed. I have only further to add on this unpleasant subject, which it was impossible to pass over in silence, that if you do not see the vileness of your conduct towards me, nothing that I can say more will expose it to you. On the other hand, I am inexpressibly overjoyed to hear from Miss D'Egremont that you have obtained so comfortable a situation, and that your conduct is so highly satisfactory to your employers. If there was one thing that grieved me more than another in the departure of both you boys, it was that, neglectful of the promise you made beside your poor dead mother, you both left your Bibles behind you. Oh, I implore you, Edwin, as you value God's favour, do not neglect His Word. I wish to know if Horace has kept his place. Compositors are wretchedly paid, if he is apprenticed to that, but he, like you, has made his bed, and so must lie on it. Did he bring you his prize books. Dale's Poems, and Bingley's Travellers ? I know that it is foolish to allow myself to be troubled about your welfare when you fly in my face at every turn ; but if you were ten times as bad even as you are, I could not help it. I see you take blindfold the first step to ruin and perdition, and all I say fails to stay you in your pro- gress. When did I ever, in my hardest and most severe moments (and such I had, I should have been an extra- ordinary man if I had not, harassed as I was) seek any- thing but your temporal and eternal good ? I assure you that the chief thing that has kept me in England has been the thought that I should be able to watch over you two boys, for in July last my friend, Scott, went to New Zea- land, and his father offered (so high is the opinion he entertains of me) to pay my passage (£25) and set me up with his son in business there. The thought of your poor mother's children and my brothers restrained me, and I refused what might have been the making of me. My nightly prayer shall be what it has been ever since you left, that God will watch over you where I cannot, and incline your heart to remember your Creator in the days of your youth. — From your afflicted brother, Frederick. 36 LIFE OF FREDERIC SHIELDS Poor Edwin replied : — 63 Lincoln's Inn Fields, September 6th, 1855. Dear Frederick, — I received your letter, and am very glad to hear from you, as I thought you had forgotten me. I am very sorry that you have to work so hard and so late at night. I hope you will get paid for your picture and that it may be successful. I daresay you have a great deal to put up with, and are very much tried with one thing and another. I hope you are comfortable in your house. Horace is getting on very well, I believe, in his situation. I cannot get out but once in three weeks, and sometimes not that, so that I cannot get to see him as I should like to do. I believe he can do a little in his trade ; he lives with his master, so that he has nothing to trouble himself about food and lodging. I went to the Exhibition last week, and a more splendid place cannot be conceived ; it is far superior to the first. The different courts are beautiful, especially the " Hall of the Aberagynes" (Aborigines?), the roof being illuminated with gorgeously stained glass, which gives it the appear- ance as when they burn red fire at the theatre, and the ceiling hangs in drops of gold. The floor and walls are beautifully mlaid with white and black marble in small pieces of diamond shape. The sculptures there are very fine, the gardens are not yet finished, but what is done is very elegant ; the animals in them are already on the banks of a stream, and they are of tremendous size. On one of the sides of the river there are represented the different strata of the earth, but whether they are real or not I do not know. There is a cascade and crystallised caverns. It is gradually improving, and of course next year it will be much better ; I hope that some time you will be able to spare time to see it. I am very busy all the year round, and especially so in the winter, as there are twenty-seven fires, and the lamps are on then, and it is very little time I can get to myself, as I can only get out once in three weeks, and sometimes not then. I am up at six and I cannot go to bed till eleven. I have £5 a year, but I expect to be ad- vanced, or else I shall look out for something better. You POOR EDWIN 37 ask me to tell you why I left. I did not like Manchester, and not knowing anyone there I was very dull, and I did not like that business, and indeed if I had stayed in it longer it would have made me worse than I was, and I thought I could do better in London, and you know you often told me things I did not like . . . however, I hope all that is forgotten between us. I hope that, by the blessing of God, I may be spared in good health. I hope that you have plenty to do and that they pay better ; trade is very bad here, and everything extremely dear. There are no news here. Jenny Lind is to sing at Exeter Hall. I daresay you have heard of the new spectacle at Drury Lane ; they say it is very grand indeed but I be- lieve it will not do. Hoping that you are well, and that you will not make yourself uneasy any more, — I remain, your affectionate brother, Edwin Shields. Edwin was at this time sixteen years of age. Soon after, his brother wrote again at great length. My dear Edwin, — I am constantly thinking of you and wondering what you are doing. It is very hard for you to have to light twenty-seven fires, but I think it is a much worse and far greater objection that you only get out once in three weeks, no one should spend more than twenty-four hours without the inhalement of fresh air. But an even more serious objection exists in the fact that you are compelled to work half the Sabbath. Whatever else a master has a right to demand from his servant, he has no right to demand that he should disobey the com- mands of their common God. "Remember that thou keep holy the Sabbath day, in it thou shalt do no manner of work, thou nor thy servant." . . . For my own part I should not for one moment hesitate in throwing up the most lucrative situation rather than labour on the Sabbath. ... Is there no business or profession to which you would like to turn your attention ? If so I will do my best to aid you with my counsel. I have repeatedly asked you if you read your Bible every night, but you never answer me ! I do wish you would relieve me by telling me ; and 38 LIFE OF FREDERIC SHIELDS here, though I am far from counselling you either to gloom or fanaticism, I would have you beware of that dangerous and unrestrained tendency to wit, which you have indulged in ; that delight and interest in trifles lighter than air which neither make wiser nor happier, nay are positively suicidal in their operations against the intellect, for wit so miscalled, talks the most and loudest, when she has the least to say. It is true wit may be some- times used to assist sense, but it is so much more fre- quently made its substitute, that it becomes to the mind a dire disease. The world, the blind world, thinks wit rare. Wisdom is rare, Edwin, wit abounds. Wisdom is sacred to the few, while wit is the common property of all the gay thoughtless butterflies of fashion and the devotees of the wine cup. With them it is indeed wit, widowed of good sense, which hoists more sail to run against a rock — and it is especially with regard to the light and ephemeral literature of the present day, which weekly pours forth its poisonous cheap compounds of trashy novels, broad grins, and comic songs, and such like that I would have you beware of this rock. If, as I much ft ar, you have indulged in these, I do trust that what I have now said will induce you to consider the sinfulness of a rational creature, re- sponsible to God for the right employment of every moment of his time, wasting any portion of it in such occupations. . . . When did you see Horace, and how is he ? I have had very indifferent health lately. — Believe me, dear Edwin, with ever increasing desire for your eternal happiness, your affectionate brother, Frederick J. Shields. It must indeed have been a trouble to Frederic Shields to learn that his young brother had been reduced to work- ing for more than a year in the service of a tavern-keeper, although the surroundings cannot have been so very terrible or Mr. Collins, his schoolmaster, would hardly have described it as " a very comfortable situation." Having nothing to bind him in Manchester, and the firm of Ernst having failed, Shields took an engagement "A RACHDE FELLEY" 39 with a Halifax firm, Stott Brothers, at a wage of 50s. weekly. Twelve months in these improved surroundings invigorated mind and body, and here his first opportunity for book illustration presented itself in (incongruously enough) a comic vernacular record entitled "A Rachde Felley's visit to the Grayt Eggshibishun," of which this illustrated edition was first published in 1856. To this droll volume Frederic Shields contributed fourteen illus- trations, admirably interpreting the spirit of the writer. In those days Stott's printing-shop was in Swine Market, a few doors below the inn where Defoe is said to have commenced writing Robinson Crusoe. The firm remained in existence in 1912, and L strangely enough, one of Shields' fellow-workers was still in their employ. Mr. William Hoyle, who had worked at Stott's for sixty-four years, remembered sitting, when a curly-haired boy, as a model for Shields, who had to design a large poster for "Dr. Marks and his Little Men." Dr. Marks conducted a pioneer juvenile band, and young William Hoyle had to perform — silently no doubt, for the sake of the nerves of the artist — on each instrument in turn, that Shields might compose an attractive picture of the young musicians. Mr. Hoyle remembered how proud he felt to think that his portraits were to be exhibited on hoardings throughout the kingdom. He also gave melancholy evidence of Shields' overworked and underfed condition. As a boy, when at Maclure & Macdonald's, his mother used to give him threepence a day for his dinner, but he usually saved half that, by dining on dry bread and coffee, so that he might spend his pence on prints and drawing materials. At Stott's his wages were good, but he still pursued the same course. "Many a time," says Mr. Hoyle, "Shields would bring a few pieces of dry bread wrapped in a news- paper, and have a pot of coffee made at the shop. He never had any meat, nor even was his bread buttered — he 40 LIFE OF FREDERIC SHIELDS did more reading than eating at meal times. His scant frame clad in shabby clothes, his long hair and unshaved whiskers, made him look ' half heckled ' — but he had no liking for chaff, and an aversion for women." The shop worked until 7 p.m. every day, including Saturdays, but Shields found time to go sketching. Mr. Hoyle lived just opposite the back door of his lodgings, and he was often awakened very early on summer morn- ings by the sound of the gate opposite. Often, says Mr. Hoyle, he jumped out of bed in time to see Shields setting out on a sketching expedition ; some mornings he went as far as Hebden Bridge — a walk of fifteen miles ! On returning to Manchester Shields wrote : — 37 Albert Grove, Hulme, Manchester, December 7th, 1856. My deae Edwin, — You will wonder at my long silence, but, indeed, I have been worked so hard lately that I have scarce had time to eat my meals, being anxious to finish the work before me ere I left Halifax, which I did last Saturday week, and you may guess that what with getting the house (which, after my absence of near three months, was damp and dusty) cleaned and aired, and attending to the numerous commissions which I found waiting for me, it is but little leisure I have enjoyed since my return. And now I know not what to answer you — you speak of want of amusements and inducement to keep you to your work at Ernst's (who, I am grieved to say, is recently bankrupt). I have but one thing to accuse myself of at Ernst's in my conduct to you, and that was an intemperate passion, continually roused by your opposition to my wishes for your good, more frequently than by any other cause. I was wrong, and if you knew the grief it has since caused me, and the caution it begets in me against passion, even when excited by a good cause, you would pity me. You say our tastes are different, so different that it would be impossible for us to agree. They are indeed different, but it would well behove you, dear Edwin, I say it in kindness, not in anger, to consider ' ' Wat o yed E ad ! un wat ure E ad uppo his faze — eh ! 1 Aw seed Lord Jon Russil, eh ! wat a littul chap E is " 9fy |ii^$£31p» -MS^> " O, E sed, you're the last biddur ' Four Illustrations from " A Rachde Felley's Un neaw fur wat aw seed ith VISIT TO THE GRAYT EGGSHIBSHUN," 1 8 56 Parleyment Heause " A LANDSCAPE PAINTER 41 whose tastes, yours or mine, are right in the question at issue. You, according to your own confession, have a taste for novel reading, insipid and trivial witticisms, and uninstructive, time- wasting amusements. I have a moral horror and dread of all these things, of some of them as positive sins against God, our fellow-men, and our own soul, and of the others as things upon which no rational man would waste the little time he has to live, and which we shall find short enough to accomplish our work in this world and prepare ourselves for that which is to come. You seem to promise that you will leave the business you are in as soon as possible. Oh, do not defer it one moment. Now ! Now ! Edwin, is the only time we have to do anything in ; yesterday is gone, we know not whether we shall see to-morrow, whilst you are hesitating to do right the opportunity may be gone for ever. I will no longer press you just now to come to Manchester, as you seem to have so insurmountable an objection to it, and as there is certainly reason and kindness in what you say of Horace, although I doubt your capability to guide him, who are not able to guide yourself. Yet, Edwin, if either by influence, money, or advice, I can help you to do better, rely on me to the full extent of my power, for I feel toward you as St. Paul felt toward the Corinthians, that I " would most willingly spend and be spent for you, though the more abundantly I love you, the less I be loved." With the kindest enquiries after yourself and Horace, to whom I will shortly write, — Believe me, your affection- ate brother, Frederick James Shields. Being weary of the drudgery of commercial design, and having a few pounds in his possession, Frederic Shields accepted with delight an offer from a landscape painter, C. H. Mitchell, to put figures and animals into his pictures. This more congenial occupation was only occasional, and he found it still necessary to make designs for commercial use, sold to the trade for a few shillings each. But the struggle for existence becoming less severe, he began earnestly to seek a field for his burning passion for art, so long held under by dire necessity. And now he made m LIFE OF FREDERIC SHIELDS his first independent attempt at a picture. Unable to afford adult models, he engaged an Irish child to sit for him, and so painted his first water-colour, called "The Toilet," the subject being a little girl doing another child's hair. Frederic Shields has often related how this picture was at once bought by C. H. Mitchell, and how it stood upon his studio mantelpiece one day, when Shields was at work embellishing a landscape for Mitchell. Sam Bough entered and his eye fell upon the little picture. " Hallo ! " cried he, "who did this?" "This youngster," replied Mitchell, indicating the young artist. Sam Bough ex- claimed, " Will you paint one for me ? " and the delighted youth, who held Bough's work in high esteem, could hardly be persuaded that he was not joking. But it was not for some years afterwards that he painted a picture which he felt was worthy to be offered to Sam Bough. Another water-colour painted in this year was " Bobber and Kibs," a group of five children playing that oddly entitled game on some old stone steps. This picture was shown at the Royal Institution, and in the Manchester Exhibition Review for 1856 it is thus mentioned : " ' Bobber and Kibs.' This drawing is by a Manchester artist named Shields, but it has no place in the catalogue. It is highly promising, and in parts the work is excellent. In composi- tion it reminds us of the manner of Rubens." In 1857 Frederic Shields made his first acquaintance, at the Man- chester Art Treasures Exhibition, with what he describes as "a marvellous unparalleled gathering" of pictures. There first he saw Holman Hunt's "Hireling Shepherd" and " Strayed Sheep," some of Millais' best early work, and Arthur Hughes' "April Love," all revelations to his eager eyes. Here, too, he first saw "Christ Washing Peter's Feet," by the artist who was later to become so dear a friend — Ford Madox Brown. His diary for this year tells much the same tale as did Bobber and Kibs (.856) FIRST WATER-COLOURS 43 the earlier one, of strenuous work and rigid self-denial. An entry for a day in January, taken at random, runs thus: — 21st, Wednesday. — Rose at 6, lit fire, prayed, studied anatomy of arm until 8.30. Breakfast. At Mitchell's copying landscape for him till 1. Wasted an hour at Morton's talking of the pictures, &c. Nothing learned, came home and was in a hurry for the loss of that hour all night. I will spend no more precious time on ac- quaintances. Finished Fleming's drawing on wood, worked closely until 10 yet could do no more than finish the centre piece. After, fell asleep in my chair and woke feeling stiff and stupid at 11." His brother Edwin, .who was still in his situation in London, was now evidently showing signs of the dread disease which had already carried off their father, sister, and mother. One of Frederic Shields' numerous letters to him follows : — 37 Albert Grove, Manchester, February 22nd, 1857. My dear Edwin, — Your last letter is to me indeed a mingled web of pain and pleasure. You must have grievously neglected the early symptoms of your cold to allow it to reach such a length, and it is indeed evidence of your needing someone to watch over you. Pray, Edwin, be careful how you expose yourself to draughts, a draught is the beginning of the most serious ills. I have told you, Edwin, that I am ready to serve you in learning a trade, something solid, upon which you can depend for a liveli- hood hereafter. I believe that amongst my friends here I have many able and willing to serve me in this matter. My whole thoughts are at present swallowed up in the necessity of helping you from the dreadful condition into which you have fallen. Last Sunday, as I was in church and thought of you and what I knew you must be engaged in, tears sprang into my eyes and I prayed God to en- lighten you and to show you the sinfulness of the way in which you are. This shall be my prayer daily until it is granted. I will say to you as a friend said to the murderer 44 LIFE OF FREDERIC SHIELDS Dove, years before lie committed the crime for which he suffered, when he saw him defying all attempts to reform him. " If," he said, "you will go to hell, it shall be over mountains of prayers and seas of tears." I trust I have no need to assure you of my sympathy with the accident you met with, but coming as it did, through the medium of the barrels, and therefore of the unlawful traffic in which you are engaged, I would bid you enquire how much it is probable it was a warning from that God without whose knowledge not a hair of our heads shall perish. Beware how you slight it. For what saith St. Paul in the 14th Romans ? " It is good neither to eat flesh nor drink wine, nor do anything whereby thy brother stumbleth, or is offended or is made weak." And do you not daily, not even excepting God's day, pursue your unholy traffic, _whereby thy brother stumbleth and is offended and made weak both in body and in soul, and can you expect God to bless you, or, as you say, " by God's help I am enabled to live very well " ? Edwin, it is not by God's help but in defiance of His precepts that you are enabled to live sumptuously and clothe fashionably. I cannot see you thus without a strenuous effort to snatch you from the gulf that yawns open at your feet to devour you. Again, I implore you to determine whether you are pre- pared to defy God and to disregard the entreaties of a brother whose worst fault to you has always been a too earnest seeking after your welfare. . . . — Your affectionate brother, Fredekick James Shields. In justice to poor Edwin, it must be explained that he was employed as porter at a tavern — doubtless a very un- suitable occupation for a delicate boy, though described by his schoolmaster as a " most comfortable situation." He had an excellent character from his employers, but was evidently terribly overworked until too ill to work any more. He apparently never received more than £5 a year, out of which he more than once assisted the younger brother Horace, so the sumptuous living and fashionable clothing could hardly have existed, save in the anxious brain of his devoted elder brother. DRAWING ON WOOD 45 Edwin grew rapidly worse, though his letters show that he retained the hopefulness which is usual with sufferers from consumption. The following pathetic entry occurs in the diary of Frederic Shields : — March 12th, 1857. — Rose at 7. Prayed. This morn- ing came a letter from Edwin's master. 0 God, what must I do ? Agonised in prayer to God to restore Edwin (if it be His Will). I have determined to give up paint- ing and devote myself to the acquisition of money to sup- port Edwin in his illness when he comes here. He must not die so. May God help and support me, for I am sorely tried — put away my picture for good and all at present." Numerous letters passed between the two brothers during the next few weeks. Edwin's health seemed to improve, and he came to Manchester to stay with his brother, who now worked harder than ever to meet his increased expenses, still designing trade labels, copying, doing ghost for Mitchell and another painter named Rothwell, and drawing on wood for the Manchester Art Treasures Examiner. He used in after years to relate an amusing anecdote of an incident in the picture gallery. Each of the rooms of the various schools had its own numeration of pictures, and this led to some diverting errors in identification of the works. One morning when working in the gallery of the British School, he heard the ensuing conversation between an old farmer and his wife. The good woman's gaze became riveted near the roof upon the naked figure of a giant maniac, by Opie, sitting upon his hams, his face between his knees, gibber- ing in frenzy. "Whoever be he?" she inquired. Her good man opened his catalogue inadvertently in the portrait section; "No. 328, Lord John Russell!" he wonderingly replied. "Eh," she retorted, "whatever made him be taken in that mak' o' fashion ? " Surely an insoluble problem. CHAPTER III First sketching expedition — More water-colours — W. J. Linton's offer — " Whistle and Answer" — Eagged School teaching — Illness and death of Edwin. C. H. Mitchell was now starting upon a sketching tour in Devonshire and made an offer to Shields that he should accompany him, and assist him, as usual, by painting figures into his landscapes. The offer was joyfully ac- cepted, and leaving his brother Edwin in charge of the little house in Manchester, Frederic Shields and Mitchell set off together. No doubt this introduction to open-air work, which led to his painting out of doors for many months after, had an incalculable effect in enabling him to resist the disease which proved so fatal to every other member of his family, as well as in removing him from the immediate danger of infection, which was little dreamed of in those days. Of this excursion he writes : — " I drew all day unweariedly under the stimulus of the strange scenes and life about me. A rugged old fisherman attracted me, and in three hours I painted in water-colour a vigorous full-length which Mitchell sold on his return for £20. This opened my eyes to powers unsuspected by myself until placed in this hothouse of rich subjects, and to the market value of my brush, and determined me to work on my own account. Mitchell offered me £5 as a share of the price, but I replied that he had paid me the weekly wage agreed upon, and he had also borne all travelling expenses, so that I could not judge myself entitled to accept the gift. I bade my kind employer 46 Early Portrait Study Pencil. About 1856 W. J. LINTON'S OFFER 47 farewell on his return from Manchester, and made my own way over Exmoor to Porlock, which I had noted in passing through it in the coach as rich in rustic wealth of personalities and subjects." Thus he began those exquisite water-colour drawings of rustic subjects which were so soon to win him recogni- tion as an artist. They found ready sale at moderate prices. The necessity of drawing for the trade was gradu- ally decreasing; drawing for wood engraving seems to have offered a favourable field, though he never felt any desire to pursue this branch of art except as a means to enable him to live and to support his brother. In Feb- ruary 1858 he sends Edwin off to Jersey. This month he records cashing Mr. Falkner's cheque, £9, for his picture " The Holly Gatherers," a beautiful water-colour drawing of two children in snow, one of his earliest finished water- colours, very much in the style of William Hunt. This picture was engraved on wood and reproduced in the Illustrated London News, December 24th, 1859. He had received orders to draw on wood several pictures for the Manchester Art Treasures Examiner, including " The Three Maries " of Caracci, " The Return of Moses from the Fair," by Maclise, Gainsborough's " Blue Boy," and others. This led him into contact with W. J. Linton, the eminent wood engraver, and on Thursday, February 18th, the diary records : — "Rose 7. Read I. Corinthians. Received letter from W. J. Linton offering me work on the Illustrated News of the World, and desiring me to go to London, a matter for deep consideration, especially as I have now so many commissions here, and my connection becoming extended. Worked at sky of Lindale. Design of Odd Fellows Card for Falkner. Read Bon Quixote. Ernst's ticket to bed- time. Wrote to Linton, requesting to know the sort of work and wages. Think I shall stay here." 48 LIFE OF FREDERIC SHIELDS These are Linton's letters : — 6 Lower Calthorpe Street, Gray's Inn Road. My dear Sir, — I have just undertaken the entire management of the pictorial department of a new paper, The Illustrated News of the World. Would you like now to come to London ? I can promise you work to-morrow, and regularly. Would be glad, indeed, of your immediate help. If you choose to come on the chance, come at once. If you would like more exact agreement — as a prudent man should — write me directly what sum per week would satisfy you. I do not mean therefore to engage your whole time, but only to undertake to find you at least work to that amount, at a not lower proportionate rate than you have been working at. — Yours in haste, very faithfully, W. J. Linton. 6 Lower Calthorpe Street, February 19 THE PILGRIM'S PROGRESS 65 girls about it, I was most mercifully preserved from harm. To the Shakespeare again just as it was closing, and home to Edmondson's by 4.30. Bed. I could not pray, for I have sinned and I fear wilfully led both Edmondson and myself into temptation, and though the Lord has preserved us from outward evil, this lessens not my crime. " March 12th. — Rose at 8. Out to look for model for Christian. Drew him until 2. Prepared blocks and traced. Morton called at 9 p.m. and brought a sketch he wanted making of Star the horse-tamer. Thank God, for I had no money left. Did it by 2.30 a.m. Got 10/- for it. Prayer. Bed at 3. "March 2Mh. — Rose -at 5. Lit fire. Made extracts from Bunyan's Heavenly Footman. Traced Faithful and Wanton. Sorted portfolio for drawings to finish, by which to make some money. Sketched Moses and Faithful. John Taylor called. Got him to stand for Faithful. Went to Ragged School in evening. Mrs. Poynter did not come, and I found myself left to teach the Mothers' class, an awkward place, but I received strength. Went to see Gibbs after, and we resolved to write seventy letters to the people around, on their souls. Bed at 12." In May he is still working at the Pilgrims Progress designs, notably the "Good Shepherd" and the "Man with a Muck Rake," finding the proofs from the wood blocks still unsatisfactory. Blank pages in June indicate another sketching expedition, this time to Disley. In July he begins the wonderful design of "Vanity Fair" and records " Failure after failure." During the latter months of this year he heard of the serious illness of his young brother Horace, who had been working at his situation as compositor, but now developed the malady which had caused the death of all the other members of the family. Frederic Shields now sadly journeyed to London to visit the sick boy. Horace Shields E 66 LIFE OF FREDERIC SHIELDS died in Brompton Hospital on November 19th, at the age of eighteen. Long hours of work in an ill-ventilated printing-room from the age of thirteen, with scanty pay and indifferent food, gave him little chance of resisting the disease to which he was doubtless predisposed. From his letters he would appear to have had a lively disposi- tion. He seldom wrote to his brother Frederic, though he once returned to Manchester for a few days when his brother Edwin was ill. His boyish letters are singularly cheerful, although he was often out of work and always desperately poor. For his unfortunate brother, Edwin, he had a great affection, and whenever he had a few pence to spare from his wretched wages he sent them cheerfully to Edwin when he was ill in Jersey. The pages of Shields' diary are again blank for several days, only the date of the youngest brother's death being recorded. During the following year the entries continue. The first design for " Vanity Fair " was abandoned after six months' work for a better conception, and when this was finished the artist felt that he had accomplished something which showed he had higher powers than those required for "mere rustic subjects."1 In May 1861 we still see notes of work at "Vanity Fair." "May 18th. — Rose 7. Practice from Holbein. Sim- plicity of shading, arranging ornaments for lady's dress. Wrote to Editor Once a Week. Sketched dress of court lady and two spaniels, fan, and wig of King. To Free Library. " May 20th. — ' Vanity Fair.' Legs of King. The poet's 1 In 1912 a portfolio containing many of Shields' studies for these wonderful designs was offered for sale in the collection of the late Mr. Eichard Johnson, an early patron of Shields. These drawings (of which two are here reproduced) were purchased by the Victoria and Albert Museum, where the interesting collection can now be seen. O ^ § 1 U « o .jj 1-J M "VANITY FAIR" 67 hair, face, and leg. To see Gibbs, very ill, rubbed him. Saw Dr. Brown who told me my lungs are sound. I have reason indeed to be thankful to God if it is so. Sinned by staying with William Gibbs too long and breaking my vow of work. DrewT poet and University man. ''Tuesday, June 18th. — Finished 'Vanity Fair' by 12 o'clock. Rid up back room of prints, draperies, &c. Began letter to Ruskin, and prepared colour box to paint." Swain had engraved several of the smaller drawings to the artist's entire satisfaction, but some had been proved to lose much by the wire-like line of the engraver. For this wonderful drawing" of " Vanity Fair," on which he had lavished so much work and care, he felt more anxious and sought the advice of Ruskin as to an engraver who could do justice to the work. But Ruskin was abroad, and a faded letter dated " Denmark Hill, June 25th, 1861," signed "John James Ruskin," explains: "My son left home a week ago, exhausted with seeing people and writing letters and troubled with a cough. Having permission to open all letters addressed to him, I may say, in reply to yours of yesterday, that it will be laid before my son on his return from the Continent, which (D.V.) may be before October." No doubt Shields felt bitterly disappointed by this letter, for October would be too late, and the engraving could not be delayed so long. Evidently Ruskin already knew something of Shields' work, probably from a visit to the Manchester School of Art, where Mr. Hammersley, the headmaster, might have mentioned the young man who came to study there in the evenings. In any case, Mr. Ruskin, senior, changed his mind and forwarded the letter promptly, for in a note dated " Poste Restante, Boulogne-sur-Mer, June 28th," Ruskin writes : " I have just received your note of the 25th from my father. 68 LIFE OF FREDERIC SHIELDS I have been going to write to Mr. Hammersley to ask about you, over and over again — you know you left several of your proofs and sketches with me, they were taken care of. Please write to above address and tell me what you wished to tell me, and let me hear about your work." The photograph from the drawing on the wood was then sent to Ruskin, who again writes : — Boulogne, 7th July 1861. My deae Mr. Shields, — I have the photograph quite safely. I think the design quite magnificent — full of splendid power. I wish you could send me a photograph not enlarged, and more sharp, to give me some idea of the drawing, which I should think must be wonderful, and quite beyond the power of any woodcutter I know. I will think about it and write you more when I receive your second packet. — Most truly yours, J. Ruskin. F. J. Shields, Esq. If there is any question about expense in the cutting, I shall be most happy to contribute towards having it done well. But I fear no money can get it done. The diary continues : — "July 9th. — Wrote seven page letter to Ruskin. Finished ' Robber Monk.' Altered ' Vanity Fair ' previous to having a new photograph taken. To Rawson's, got £2 extra for ' Vanity Fair.' Thank God, what a relief. " July 15th. — Finished Charley Falkner's portrait. Mr. Falkner paid me. Put away all wood drawing apparatus. Arranged fruit to paint. Cleaned windows. Read Matt. 13th. "September. — Wrote to the papers against the Hulme Wakes. Put figures into Rothwell's drawing. Mounted The Robber Saint Drawn on Wood for "Once a Week," 1861 RUSKIN'S ADVICE 69 paper. Went to Moseley to sketch, very threatening, but the rain kept off, and I made two pencil sketches of heather and gorse. Rained pell mell on the way to Staley Bridge. The wakes on there, too. Waited an hour for a train, got off at Ardwick and forgot my sketching stool. Rushed back, past 10, but no use, someone had taken it. Ruskin writes again : — Boulogne, 3rd August 1861. Deae Mr. Shields, — I have not been ill ; but idle — at least — I was ill when I wrote you last, and have been resting since. The photo arrived quite safe — but I have not been able to attend to any business since — and really getting this drawing engraved is no small piece of business. I expect my assistant from London very soon now, and will consult with him and write to you. Nothing can be more wonderful than this drawing — but I think your conception of Christian false—Christian was no Puritan. I consider Puritanism merely pachydermatous Christi- anity, apt to live in mud. But you need study among the higher Italians — you have been too much among the Northerners. — Ever faith- fully yours, J. Ruskin. Little did the great man know that the artist was starving in a mean lodging, living on a few shillings a week so that he might be able to devote himself to a task that fed his soul's desire. His entire expenses from March to July in this year — exclusive of seven shillings a week for rent — amounted to £4, 15s. 8d. — about 5s. a week. Eventually " Vanity Fair " was engraved to the artist's complete satisfaction by Gaber, who reproduced so many of Richter's beautiful drawings. The wonderful Pilgrims Progress designs were pub- lished, to the artist's disappointment, not as originally intended, with the complete letterpress, but merely as a 70 LIFE OF FREDERIC SHIELDS series of illustrations, bound as a thin volume, with brief quotations applying to the designs. In this year Frederic Shields also contributed several drawings on wood to Once a Week. At the end of the year he went back to Porlock to recruit the losses incurred during so long a period of ill-paid work, by returning to the water-colours, which always found a ready sale. He remained at Porlock during the whole of 1862, except for a week's visit to London in June, producing many exquisite pictures of rustic life in its most poetic aspect. Its picturesqueness was vanishing even then, improved means of transit and communication had already begun to infect the remotest country village with the latest and most hideous of town fashions. The delightful rustics in their smocks, the innocent-faced children scaring birds, the placid mothers in their sunbonnets, the old beehive-maker, the romantic miller's boy, the girl handing straw to the thatcher, — these we shall see no more. The diary continues its record of work day by day : — " January 9th. — Rose at 6. W.P.B. Painted at small sketch of the Orphans. Made sketch of interior of cottage. To Luccombe, but on the way met with a girl keeping birds, so capital that I stopped at once, drew her until 4. Home. Dined 7. Prayer meeting for Missionaries, America, Jews, Religious liberty in Europe and East, and the destruction of all anti-Christian error. Had elderberry wine at Mr. Brown's — resolved to take no more. Decided to paint ' Hide a stick in a little hole.' ': Copies of the Pilgrims Progress woodcuts were sent to Charles Kingsley, whose advice had been so helpful to the artist, and were acknowledged as follows : — EVEKSLEY RECTOEY, WlNCHFIELD, Jamiary 11th, 1862. My dear Mr. Shields, — Business has hitherto pre- vented my acknowledging your kind letter and the 4# CHARLES KINGSLEY 71 drawings. Now I have time to say, that I cannot suffi- ciently admire them. With strong individuality, and varied imagination, here is real beauty of form, without which I care for nothing. It seems to me that you are about to become one of the first designers in Europe, and I trust that you will spare no time or pains to make your- self such. I think the period which you have fixed is quite the right one. It may be a little late, but it is the Siecle Louis XIV., which endured through Cromwell's time also. It is " the world " against which Bunyan and George Fox testified. I hope to see and hear more of you. You must come down and see me here in the course of the Spring or Summer. — Yours faithfully, C. Kingsley. "What Mr. Ruskin says," alluded to in Kingsley's next letter, possibly refers to some theory expressed in his books, and not necessarily to any advice given to Frederic Shields personally, for though all Ruskin's letters appear to have been preserved, there are none between that of August 3rd and February 28th, when this next letter from Kingsley is written. EVEESLEY KECTOEY, WlNCHFIELD, February 28th, 1862. My dear Sir, — Don't mind what Mr. Ruskin says. He is too apt to " bind heavy burdens and grievous to be borne, and touch them not himself with one of his fingers." The plain fact is, God has given you a great talent, where- by you may get an honest livelihood. Take that as God's call to you, and follow it out. As for the sins of youth, what says the 130th Psalm ? " If Thou, Lord, were ex- treme to mark what is done amiss, who could abide it ? " But there is mercy with Him, therefore shall He be feared. And how to fear God I know not better than by working on the speciality which He has given us, trusting to Him to make it of use to His creatures — if He needs us, and if He does not, perhaps so much the better for us. He can do His work without our help. Therefore fret not nor be of doubtful mind. But just do the duty which lies nearest — which seems to me to be, to draw as you are drawing 72 LIFE OF FREDERIC SHIELDS now. I showed your drawings to my friend Bennett, who lately illustrated the Pilgrims Progress, and without rivalry or jealousy, he was astonished and delighted at them, and said he knew a great deal more excellent work of yours. — Yours ever faithfully, C. Kingsley. ''February 18th. — So dark I could not work at Bird Keeper girl, so began crocus and withy. Difficulty in getting the purple colour — did all in body colour. Walked too much uphill, hand shook on return. Had I carefully set to draw this withy with pen and ink, and then washed it, and touched on the lights, I should have done it better in half the time, learned more, strengthened my hand, and had something to keep for my pains. All this I have lost by hurry." In the first few months of this year, columns of the diary are ruled off and headed Work, Walk, Dine, Read, Study, Letters, Omissions. Under these headings the hours devoted to each subject are recorded, and the Omissions include such lapses from the strict routine he had mapped out, as " read newspaper half an hour longer than I ought," " stopped an hour instead of half an hour with Mr. Brown, very wrong, ought to have used that half hour for Sunday School lesson," "Slothfully stood half an hour before fire — folly — sleepy in consequence," " Coldness in prayer," " Painted ribbon three times over through carelessness." Mr. Brown, the same neighbour who sup- plied the elderberry wine after the missionary meeting on " religious liberty and the destruction of all Anti-Christian error," was the local clergyman. Shields interested him- self greatly in the Sunday school, which he mentions having found sadly neglected through lack of teachers. His friend, the Evangelical preacher in Manchester, had failed to persuade him to devote himself to preaching, but doubts evidently still occasionally entered his mind, which MORE ADVICE FROM RUSKIN 73 the following letter from Ruskin surely did much to dispel : — Noethwich, Cheshire, March 28*A. My dear Sir, — I was away from home when your interesting letter came. No idea can be less justifiable than that you have of your own inferiority. I know no one in England who could have made that drawing of the Pilgrim's Progress but yourself. Even should you never be able to colour, you may perhaps be more useful, — and — if that is any temptation to you — more celebrated, than any painter of the day. What you want is general taste and larger experience of men and things. I cannot re- commend you to pursue colour until I see some of your attempts at it. When you have leisure to set to work for a serious trial, I will send you anything you want of books, and a little bit of Hunt's to look at or copy, and we'll have a talk about it. Meantime, do put the idea of giving up art out of your head, as you would that of suicide, if it comes into it. I hope to be at home early next week. — Most truly yours, J. Ruskin. This letter is printed in the Life and Letters of John Ruskin with the date given as 1865, but as a matter of fact the original letter is not dated at all, and it is obvi- ously written in 1862, when Shields was in such doubt as to what to do next, and before he had met Ruskin. " May 1st. — Began sketch of Carter's boy with baby. Painted boy in blue slop with pop-gun. To cottages to sketch backgrounds. To Mr. Floyd's, too much levity and griggishness. God forgive me. " May 11th. — Walked to Minehead down the quay and to the church. Sketched backgrounds." In June the diary is blank for a week, save for the words " week in London to see exhibitions." The water-colours painted at this time found ready sale, either to private collectors, or through his dealer friend in Manchester, John Rowbotham. Mr. Rowbotham 74 LIFE OF FREDERIC SHIELDS was described in later years by Shields as " a man of sterling worth and simplicity of character, an upright Christian, a fair Greek scholar, and a leader in a little gathering of Plymouth Brethren. His wife overwhelmed me, then a lonely youth, with motherly kindness, and the elder daughter became a dear trusted friend, ever ready, in the business wherein she was her father's right hand, to speak in my interests with the wealthy buyers who frequented the shop." Many evenings were spent, when in Manchester, with the Rowbothams, and many are the entries recording " Stayed too late at Rowbotham's after supper." Shields had numerous anecdotes of the picture- dealing trade in those days, — he used to relate how Mr. Rowbotham attended a sale at a mansion some distance out of Bristol, and bought for a few shillings a large aquatint — as he supposed — obscured by a very dirty glass. The way to the railway station led by a muddy path, and in a storm of wind and rain the encumbrance of this large frame made him half inclined to cast it away. However, he struggled on, and it was duly put into the shop, where Frederic Shields saw it. One of Rowbotham's clients saw it, too, and suspecting it to be something other than was supposed, bought it for a small sum, and dis- covered, on removing the grimy glass, that he had a superb drawing by old Cousins, of the Tiber, with the Castle of St. Angelo for its dominant feature. Years passed by and Shields again saw the picture occupying a place of honour at the Grosvenor Gallery and a centre of interest in the Art world. Mr. Rowbotham's simplicity of character perhaps made him rather unfit to cope with some of his unscrupulous trade rivals. Shields had another story of how, in looking through the portfolios at the shop, he saw a brilliant study by William Hunt, of the vertical depth of a sand-pit, with a narrow slip of sky and a cottage seen above, evidently painted in pure delight of the golden PORLOCK 75 colour, but utterably unsaleable. It long lay in the shop and then disappeared. Some time after, Rowbotham asked Shields his opinion of an oval drawing, a sprig of holly and a snail shell, which he had bought as a William Hunt. At a glance, Shields exclaimed that it was not Hunt's work, then on examining it, that the shell and holly were not Hunt's, and yet he could swear to the background being his. Then he asked Rowbotham what had become of the sand-pit study. " I exchanged it," said he, " with some other drawings, to a Birmingham dealer." " Then, my friend," said Shields, " it has come back to you with the forged holly and the shell added." Rowbotham had paid" £60 for the drawing, but the Bir- mingham impostor gave way in fear and returned the money. To go back to the diary and Porlock. The country children were not always the most docile models. " July 2>lst. — Tried to paint baby in cart, only did a bit of its pinafore. Got Elizabeth at 11, obstinately lazy she was, could do nothing with her, gave up, fearful head- ache with the fight. Went for walk round Lord Love- lace's and back by the Linton Road. Visited the sick girl, Floyd. Read and prayed. " October 31s*.— Rose 6.30. W.P.B. Got old Jan from 9 to 11, only painted his hand in the time. Painted in piece of boat wreck until 1.30. Packed up traps to go back to Porlock. Terrible day to drive over Exmoor. At the bottom of the hill I was thrown out, the gig upsetting in the dark. A miraculous preservation. Let it make me thankful and watchful. ' In an hour when we think not.' Got a hearty tea and sat, much in pain, with four men who came from a day's hunting and had ordered a huge bowl of Punch. "November 1st — Rose 7.30. Very windy with fitful 76 LIFE OF FREDERIC SHIELDS showers of rain. Went to Porlock Weir, but could do nothing for wind. Made a sketch on road back of some boys with boats, playing in stream. Made sketch of girl with fork and straw at thatching. Made sketches of ex- teriors until dusk. Had a glass of cider at a farmer's invitation. Read Ruskin. Mended books and arranged things. Prayer. Bed 10.30." Early in January 1863 he left Porlock with much regret at parting with his many humble friends there — the two maiden ladies, the Misses Pulsford, with whom he had lodged, the hospitable vicar, to whom he had given much assistance with the Sunday school, and many another kindred spirit. The Decision of Faith Designs for Defoe's " Plague of London " (i) From the original study now in the Art Gallery, Manchester CHAPTER V Return to Manchester — Sketching in Cumberland — Designs for Defoe's Plague — Visit to London — William Hunt sale — First meeting with Rossetti — Madox Brown — Butterworth and his landscapes — Rossetti's first letter — Description of "Vanity Fair" — Ruskin again — Charles Keene — Finding Professor Scott, his father's cousin. The house in Manchester had apparently been left empty while he was in Porlock, and the diary soon goes on much as before : — "April 10th. — Began Plague drawings. Got Huddle- stone for model. Traced Hogarth's Madhouse. Tried to paint at Beehive, very low and dull. Gave up. Studied Burnet's Education of the Eye. So foolish as to call on Gibbs after 10 last night, staid longer than I meant, as usual, and so slept an hour too late this morning. Lord, forgive my manifold offences." The diary is somewhat irregularly kept this year. A few weeks were spent at Walton, Cumberland, with his friend, Tom Rothwell. "Thursday, June 25th.— Rose 6. W.P.B. To Mr. Pooley's. He bought drawing of Wood Boy, very kind. Promised I would call when I had another drawing. Finished Plague Stricken Field. Traced and began Dead Cart. Worked at Plague six hours. Wrote letters, But- terworth, Spottiswoode. Bed 11." A grim little note, written about this time by a medical friend, requested admission to a " dead-house " for " Mr. F. Shields, an artist who desires to sketch some bodies." " June 29th. — Traced Solomon Eagle." 77 78 LIFE OF FREDERIC SHIELDS This is considered one of the finest of his grand series of drawings for Defoe's Plague of London. A water- colour version of the same design is in the Manchester Art Gallery. The series of designs for the Plague of London, which drew such praise from Ruskin and Rossetti, were unfor- tunately, in the opinion of the artist, ruined in the cutting. He had the drawings on the wood photographed, and they are happily thus preserved, though very few copies of the photographs are now in existence. The book was pub- lished in a cheap, paper-covered series, entitled Laurie's Shilling Entertainment Library, engraved by Swain and Morton. The book is not in the British Museum, and is apparently not to be procured. The disappointment at the reproduction of these wonderful drawings probably finally decided Shields against doing any more drawings on wood, and made him return to his water-colours again. In January 1864 he is working at "Bo-Peep" and the " Girl with Pickel," from a sketch at Porlock. " January 25th. — Finished ' Boo.' To town. Sold it to Mr. Rawdon, £20. Looked for model, called at Agnew's, and Mitchell's. He showed me all Bradley's drawings — what a reproof to my indolence and fastidious- ness. To Free Library, to collect costume, to Crozier's about dresses and armour. " January 29th. — Got room cleaned. To look for old velvet frock at Knott Mill. Sold my Plague sketches to Mr. Barrett, £5." This entry is especially interesting. The final draw- ings, as already mentioned, were ruined by the engraver. At the Memorial Exhibition in London in the autumn of 1911, all that could be shown was a set of photographs taken from the drawings on wood before cutting, kindly lent by Mrs. Fowler. A few months later, in January 1912, these original sketches were discovered in a Man- Solomon Eagle Design for Defoe's " Plague of London " (2) From the original study now in the Art Gallery, Manchester MEETING ROSSETTI 79 Chester sale-room. Two Manchester men (Councillor Butterworth and Mr. Roger Oldham) recognised them, and with fine public spirit surrendered their rights in the purchase to the Art Gallery Committee. " March 14th. — Prepared new colour box. Study for ' Cutting Loaf.' Tried coloured sketch for ' Turmit.' To train to see Sheffield flood. Back at 11. Safe. Thank my Heavenly Father. " March 16th.— Sketch of Sheffield Flood. Touched up Plague photographs for Sir Walter James and Dr. White- head. Painted background of 'Cutting Bread.' Out to sketch cat at Booth's. Went to see poor old Stones. Ragged School 9. " March 28th. — Models came. Worked at ' Playing Toys.' Finished ' Cutting Bread,' to town with it at 1. Mr. Salomons bought it £35, leaving me option of offering it to Agnew." In May 1864 he paid a memorable visit to London, and first met Rossetti. Apparently one object of this journey was to attend the sale at Christie's of William Hunt's sketches and pictures, some of which Shields bought for his friends Rowbotham and M'Connell, and one or two sketches he was able to purchase for himself, having been advised by Ruskin to study Hunt's colour. " May 13th.— To Station by 9. Too early. By God's mercy preserved safe to London by 2.30. Straight to old Hunt sale. There till 6. Dined. Looked for lodgings, got very comfortable at 36 Norfolk Street, "May Uth.~ Rose 6. W.P. Out at 8. Breakfast at Coffee house. To see Swain. To old Hunt sale till 1. To National Gallery. To British Museum, made notes of Lycian Bas Reliefs. Tea Walked to City through Newgate. "May lQth.—To Old Water Colour Society at 7.30 until 12. To Christie's sale. Bought for Mr. M'Connell 80 LIFE OF FREDERIC SHIELDS £48, 10s., for Mr. Rowbotham £40, 10s., self £5, 5s. To Armstrong's at 5. Went to see Mother's house, 39 Stan- hope Street. " Tuesday, 17th. — To Academy, National Gallery. Old Hunt's sale. To G. Butterworth, Thornton Heath." George Butterworth was originally a carpenter. He had been a student in Ruskin's classes at the Working Men's College, and was at one time Ruskin's assistant. This characteristic letter must have been written earlier in this year. 6 Canterbury Terrace, Thornton Heath, London, February 1th. My dear Shields, — When was it I heard from you last ? — certainly not since the last time ! Has the iron of adversity entered so deep into your soul, or a plethora of success so obfusticated your mental vision that you cannot strain your eyes Croydonwards for a brief space, or is it only that, like Van Amburgh's lions, you refuse to roar without being poked up ? Well, now, consider your- self poked up and roar accordingly. Roar an you like as Bottom the Weaver would have done — as gently as any sucking dove, but roar, roar, roar ! ! 1 Are you ever coming to London again, or have you been and gone again, without the least intention of extending your journey to here? Answer me that, you ! ! ! It is astonishing how little I get to see of the Exhibitions now. I suppose if I were 200 miles away I should come up and see them all, but being so near you will at once understand how impossible it is to visit any. Well, now, what are you doing ? I am just managing to keep my head above water, and only just. I think I am improving in my work, however, I am at any rate commencing a new game — a game that everybody else began long ago. I now keep my outdoor work to make clear and clean drawings from at the easel and find it very satisfactory. I am alas, however, occasionally bowled for want of a few eyes in my pictures, dots of figures, &c. Now I want to ask if I were to send down a few things occasionally, could you find time and inclination to do the Death of the First-born Designs for Defoe's "Plague of London" (3) From the original study now in the Art Gallery, Manchester AN AMUSING^ LETTER 81 necessary ? I can always trust to your judgment and your work assimilates to mine in execution better than that of any of my friends who have hitherto obliged me. You have been a rare good fellow to me always in that respect, and I had nothing to repay you with but thanks, but now I should not permit that to suffice, and I can repay you in a way that you will, I think, have no compunction in according to. I have lately come into collusion with an old gentleman who stupidly took a fancy to a number of my things done within these last few years, and he raked out an old folio containing treasures and treasures ! Prout, De Wint, Girtin, Robson, Turner, John Lewis ! ! Oh spare me — and he was barbarous enough to barter some of these old musty things for my beautiful clean drawings ! Wasn't I an ass ! Well, never mind, I've sold some of them for a little more than I could have sold my own drawings for, and some I have not — about a score or more. There are one or two among them would please you. I shall be happy, at any rate, to pay you in that way for what you do for me — don't say nay. All my work now is about fifteen inches by ten in size, and is chiefly old ruins, churches, abbeys, castles, &c. If I have ever anything more important, such as commissions, I shall feel bound to pay you in coin. Now are you coming up, and when ? Remember we have a bed for you, no cock, nor sparrows now, go to bed at ten and oatmeal porridge for breakfast such as you get at ! ! Now roar! Mrs. Butterworth desires her kindest re- membrances to you. — Thine faithfully, G. Butterworth. Some months later, Shields, as we have read, was in London, and his diary records a visit to G. Butterworth. " May 18th.— With G. Butterworth to Old Hunt's sale at Christie's. Ordered packing of drawings. To T. Armstrong's. "May 19th. — To National Gallery, copied Memling's 'Holy Family' to 4.30. To train 5, missed it. Went up Monument. Glorious scene. Croydon 20 to 7. Stayed with G. Butterworth. F 82 LIFE OF FREDERIC SHIELDS " May 20th. — With Butterworth, put in his cows and figures until 7 p.m. Had a short conversation with him on Eternal things. Train to London at 9.30. Terrible Thunder storm." More than forty years later, in one of his loose sheets of notes, Shields wrote ; " Butterworth essayed in feeble fashion to paint landscapes, these he importuned me to enrich with figures, and, unwillingly, I yielded. I visited London in 1864, and hearing me express fervent admira- tion for Rossetti's designs, he told me that, through Ruskin, he was sufficiently acquainted with him to dare to introduce his lowly worshipper. Rossetti was then busy upon his David ; part of the triptych for Asaph Cathedral." Evidently the visit to Rossetti was made on the very day after he left Butterworth, for the diary records : — "May 21st. — To Rossetti's studio. He painting his David. A great day for me, to be praised by him. Intro- duced to Sandys and Legros." The account written in later years continues : — " Rossetti's graciousness of manner abides vividly with me. He left a small group of friends and drew me into an embrasure of the long room that was his studio, look- ing out upon the spacious back garden. Face to face, I felt such a sense of littleness as I have never experienced in contact with any man but himself. This, through the long years of intimacy that followed, never diminished but increased. With trembling I showed him a few designs, he expressing admiration that made me wonder. He accompanied me to the street door, and as we parted, I said something to the effect of the incompetency of my strivings — never can I forget the impulsive generosity that responded — ' Tut, tut, you design better than any of us, but cultivate your imagination.' His freedom from envy of any of his fellows, either in Art or Poetry, singled +4jfW '■**'• The Plague Pit Designs for Defoe's " Plague of London " (4) From the original study now in the Art Gallery, Manchester ROSSETTI'S FIRST LETTER 83 him out. An introduction to Madox Brown followed, who said little to my work, and that wholesomely corrective of any feelings of elation." " May 23rd.— To Sir W. James, Whitehall. To Madox Brown's. To National Gallery. " May 25th. — To Kensington, Study of Hogarth, studied antiques there ; to West Croydon with Butterworth. "May 28th. — To Armstrong's, with him to Poynter's and Bridgewater Gallery. "June 4th. — To Sir W. James, received commission for £100 picture. To Burne-Jones. Train to Manchester. By God's blessing safe home again at 7. To Rowbotham's. Bed 11.30. " June 7th. — Mounted and packed three sets of photos of Plague drawings for Ruskin, Kingsley, and Rossetti." The following appears to be the first letter received by Shields from Rossetti. It accompanied a copy of his Early Italian Poets, inscribed, " To Frederic Shields, with friendly regards. D. G. Rossetti. 1864." 16 Chbyne Walk, Chelsea, Uth June 1864. My dear Shields, — I should have answered your letter before, but had to send for the book, which has only just reached me. It goes with this, and as it is Dante's and other men's — not mine — I am happy in feel- ing sure that it is worth offering you. I should like much to have some day an opportunity of showing you various water-colour drawings I have made at different times from the Vita Nuova, but they are scattered in different hands. Perhaps I may yet do better ones from the same source if youth be not necessary to the illustrating as well as to the writing of such a book. I feel sure the book will be a new pleasure to you. Many thanks for your admirable designs, which others will enjoy here besides myself. When I see you again, I hope I may have some photographs of my own to offer you. — Yours very truly, D. G. Rossetti. F. Shields, Esq. 84 LIFE OF FREDERIC SHIELDS P. S. — In Part I. of the volume, poems which I think would please you are to be found among those of Guido Guinicelli, Giacomino Pugliesi, Francesco da Barberino, and Fazio degli Uberti. "June 25th. — Went down to Knott Mill Fair, back at 11. Worked at 'Turmit' and 'Spinning Wheel.' To Mr. Craven's to see his drawings, great pleasure. Writing out ' Vanity Fair ' description." " The period chosen for the illustration," wrote Shields, " is the middle of the reign of Charles the Second. First, because it is Bunyan's own time ; second, because never was the Fair in England brisker or more bravely attired. The two companion pilgrims are supposed to be torn asunder in the tumult. This favours the division of the subject into two heads, under which, and holding out their peculiar temptations to diverse minds, may be included all the wares and delights of this world. Christian, who was led astray by Worldly Wiseman at the outset of his pilgrimage, is here exposed to the snares of worldly honours, riches, and the indulgence of so-called refined tastes. Faithful, who was before tempted by Madame Wanton and the Old Adam, is shown, subject to the like trial here. Christian, with eyes averted heaven- wards, clutches fast that truth which he will not exchange for all the riches of the Fair. Then first, to Christian's right, the soldier offering military glory — such as was then dispensed — to the bloody Colonel Kirke, whose horrible barbarities in Somersetshire, and his flag's ensign, procured his ruffian soldiers the name of ' Kirke's Lambs.' Next to him, the Duke, advertising titles, honours, &c, and offer- ing for sale a patent of nobility. Behind him, the Lord Chancellor, displaying his placard, hung with bribes, and advertising lives, lands, &c. Above him, a Court Fool, elevated on a man's shoulders, having robbed Christian DESCRIPTION OF "VANITY FAIR" 85 of his hat, indicates the world's estimate of the Christian pilgrim by crowning him with his own fool's cap and bells. Below, a courtier poet, dressed in the extreme of the fashion, proffers him the laurel crown. On the other side of Christian, a Bully Lawyer puffs tobacco smoke into his face. A Merchant, with his bale, cash bags, ledger, and file of accounts, thrusts back the Tall Jockey (they were not light weights), who would press forward in the interests of the Turf. Next are the Jew Usurer and the Jeweller ; and immediately behind Christian a Trumpeter, who hopes to provoke a laugh at Christian's start from his rude alarm. Then is seen the Recorder of London in his fur cap offering civic honours ; while above the Merchant another holds up his book, and offers the services of a venal pen. Next to the Merchant, the University Dignitary, with cap doffed obsequiously proffers university honours ;• and before him the Painter, enraged at Christian's refusal to so much as look on his unchaste picture of a classic amour. Next, a Sculptor, with a like lascivious group, and the Musician. Returning to the opposite side ; the foremost figures on the steps of the Royal Show are the King, with a tray like a pedlar, hung from and filling which are orders, spurs (knighthoods), field marshals' batons, warrants, pardons, &c, for sale. The King's Lady Favourite is receiving from the French Ambassador a bribe, a Jesuit backing up the transaction. A black Page supports her train, and turns to laugh at the cruel amusement of the dwarf, who pinches the spaniel's ear. The Little Lady below draws nearer to her the jewelled Star of the Garter, and the boy, bedizened in the mode, rides his hobby-horse like his elders. Above, a lady, disguised as a page, overtly receives a kiss from a Courtier. Higher, a Bishop and a Roman Catholic ecclesi- astic hand and glove together. Courtiers, ladies, and bullies crowd the steps up to the railed division ; beyond 86 LIFE OF FREDEKIC SHIELDS which bishops and collegians struggle for preferment ; a noble above holding the archiepiscopal mitre for disposal. Mixed with these, and invited upwards by the Garter King at Arms, another set fight for the possession of coronets of all degrees — a duchess handing down an Earl's coronet to some bidder. The Royal Crown itself is in front, guarded by the Yeomen, and ticketed at £800,000 (Charles II is reported to have offered it to the Duke of Monmouth for that sum). Above, the Royal Show is hung with the Chancellor's bag, and other insignia of office, with the escutcheon of a member of the Royal Family, bearing the bar sinister. Beyond these is the Judges' seat, where the Butcher Jeffreys is receiving a bribe from a masked lady, his low companions carousing around him. This side being completed by the Theatre, with the crowd pouring in ; and another popular spectacle, the Gallows, decorated with three dangling figures. Nearly lost in the distant crowd is Faithful, with fingers in ears, and eyes shut against the words and charms of the women who mockingly pull him ; while one of their male com- panions crushes his hat over his face. Drunkards, one a woman, make the foreground of this group. Another has pawned all but his breeches at the sign above, linked in partnership with the Red Lion, for which the pawnbroker is the provider, as indicated by the jackal's head support- ing the three balls. An overturned stool, cards, and money, with the bloody knife among them, show how this play has ended. Above the half-naked drunkard is Hopeful, himself as yet a slave to vice, but moved with sympathy for Faithful, which is noted by the Mounte- bank, who turns to jeer him by pretending that he too is going to pray. From the balcony above a female is setting fire with a lighted torch to the Bible, which a halberdier has hoisted up for this end. A carriage going to a rout. A bombastic statue, in periwig and Roman armour, tramp- LETTER TO RUSKIN 87 ling on the world. An auctioneer selling slaves (which was publicly done at this time in England). Dancing and other booths ; a Tailor's display ; a Rope Performer as Mercury descending ; and Temple Bar adorned with grisly heads ; the then new Cathedral of St. Paul's overtopping all." A rough draft of a letter dated June 5th, 1864, shows that Ruskin sent a message through Butterworth asking Shields to write to him, and explaining that only illness had prevented his writing further about the engraving of " Vanity Fair." Shields says that Ruskin had declined to recommend him to pursue colour until he had seen his attempts at it (referring evidently to his letter in March 1862 ; but adds : " I think I might be able to send you one shortly if shame of the poor thing do not prevent me ; yet Rossetti, to whom I showed two unfinished drawings, did not disapprove of their colour." Whether this letter was sent to Ruskin we cannot say ; but the document goes on to mention that as Ruskin attached so much importance to William Hunt's work, he determined to possess something by him if opportunity ever served, and had therefore bought, at the sale of Hunt's sketches, a small study of a boy's head and a nude life study, both most powerfully painted. Shields mentions his own designs for Defoe's Plague of London, photographs of which he seems to have sent to Ruskin, explaining that they were slightly executed for the engraver's sake, as he was to receive little for cutting them. No other opportu- nity, he says, has been given to him for designing on wood ; but if it had, he would not have been eager to embrace it, so much does the work suffer in the reproduc- tion. " So I have been compelled to go on with colour draw- ings of rustic subjects, in which I have been so successful as always to sell ; my object being to gather a little money as a capital to fall back upon in the prosecution of more 88 LIFE OF FREDERIC SHIELDS important works, the beginning of which is the execution of a drawing for which I have received the noble commis- sion of £100." This evidently refers to the commission from Sir Walter James. Ruskin replied with a warmly enthusiastic letter, in which he says : " I do not know any modern work which has impressed me with so much sense of a sterling, manly power of imaginative realisation as these Plague woodcuts of yours. They are quite magnificent. I shall feel it the merest and highest presumption to pretend to any power of guiding or advising you. A designer of your calibre can only do what he ought, and he only knows what he ought." Ruskin goes on to say that he may regret an artist's bias, " and I do regret yours to old Calvinism ; but one need not hope that it can be changed." He asks whether there is any chance of seeing Shields in London, where he might possibly help him a little in colour. In a much corrected copy of what was apparently a reply to the above, dated July 19th, Shields tells Ruskin that he prizes his approval above that of any living, and draws his breath deep and hard with emotion as he reads his letter over and over again each time with increas- ing wonder. He says : " Your strong words seem designed to encourage me, and I will carry them in memory, trying not to let my pride feed on them ; but to think — This then is the deliberate given judgment of one whose judgment I most trust (on others' work). I will endeavour to act in reliance on it, and no longer doubting that God has given me a talent, only seek how I may best employ it — to Him Who has given it." Shields goes on to say how difficult it is to decide what to do next, drawing on wood is dis- appointing in reproduction, and etching out of date ; he says he will come to London in October and bring some drawings, adding, " I would become a child under any one Escape of an Imprisoned Family Designs for Defoe's "Plague of London" (5) From the original study now in the Art Gallery, Manchester RUSKIN AND COLOUR 89 fitted to instruct me in colour." Whether this letter was sent to Ruskin or whether it was again rewritten, we cannot say ; but a little later Ruskin wrote : " I know well enough without looking at your painting that you can't paint, and have been wasting your time. No Puritan can paint, but also your drawing is all against it. But come up and show me." Ruskin did not know — perhaps he never realised — how sad had been the colour of Shields' early days, and how — even apart from his depressing Calvinistic views — the joy of life and the physical vigour of youth were spent in fasting and prayerful emotion and the weary struggle for a scanty subsistence. Later Ruskin says : " I am very anxious about your coloured- work, and want to see it. I hope I may have been wrong about it." Finally, he sent a study of a her- ring by William Hunt for Shields to copy. In Mr. E. T. Cook's Life and Letters of John Ruskin occurs the follow- ing : " Mr. Ruskin," says Mr. Shields, " sent a fresh herring in water-colour by William Hunt, of exquisite colour ; and I had the reward, when I took it and my copy to him at Denmark Hill, of hearing him say, ' Well, if you had brought back your copy and retained the Hunt, I should never have known the difference.' This settled the ques- tion of my eye for colour, hitherto in doubt." The diary continued : — "August 19th. — The skeleton came ; obliged to re- arrange room in consequence. Drew old ragman ; enlarged the girls. Jane came to sit ; very naughty ; no work till 3 o'clock. Much upset in my work by accordion next door." The Ragman refers to a picture called " Desire is Stronger than Fear." This was one of the pictures which won the artist admission to the Old Water-Colour Society. " September 13th. — Sought out my diaries for eight 90 LIFE OF FREDERIC SHIELDS years past. What a review ! Worked at William Gibbs' portrait. Katie sat for hair ; made a mess of it. To Knott Mill Fair with Laresche to buy old clothes." The annual fair at Knott Mill, held on the site of the camp of Agricola, said to have been named from the Mill of Canute and to date from the days of Henry III, was in later years described by Shields as " My annual sketching festival, rich in character never seen but at those old fetes, where Wombwell's Menagerie vied in attraction with the strolling players who strutted upon the platform in paste- board armour and conventional robber costumes. In my early days I made acquaintance with Hanlon, father of the Hanlon brothers, gymnasts, afterwards famous on London boards. Their kindness to me during a sore crisis of my being deserves grateful remembrance. I tried to return it by designing a large poster for them." Many years later — in 1893 — he painted Knott Mill Fair, his largest realistic oil-painting, a replica of an earlier water-colour, using many old costumes and properties which had actually been purchased at the fair in those early days. " October 14th. — To fruit market. Tried arrangements for fruit picture. Painted purple grapes. Wrote Charles Keene." He had met Keene in London, and evidently sent him photographs, probably of the Pilgrim's Progress, about this time, which Charles Keene acknowledges : — 55 Baker Stkeet. Dear Shields, — Many thanks for your noble present. I need not say how highly I prize it, intrinsically as an artist and proudly as a pledge of remembrance of the kindly donor. I wish I had some work of my own I could feel more worthy to offer you in return. I shall hope I may some day. I don't despair of seeing more of your The "End of a Refugee Designs for Defoe's "Plague of London " (6) From the original study ?iow in the Art Gallery, Manchester CHAKLES KEENE 91 work of the same kind if the publishing world are not lost to all sense of taste. I hope you will look me up whenever you are near here if you come to town. Kemember me to our friend, Tom Armstrong, when you see him. — And believe me, yours very sincerely, Charles S. Keene. A letter from Rossetti, dated October 23rd, 1864, says : — " I feel quite as neglectful as you can — and more so, not having yet answered your kind note accompanying the translation of Solomons Song. My simple motive — if not excuse — for the delay has been that, having little eye- sight to spare after my day's work for reading, I have not yet looked into it in any decided way. However, I still fully intend to do it justice. " Thanks for your intimation of W. Craven's wish to possess a drawing of mine. It happens I have one just nearly finished whose disposal is yet undecided. " I may perhaps drop him a line on the matter, as you have given me his address, this seeming the most direct plan and avoiding further trouble to you. The subject of my drawing is ' Joan of Arc' Many sincere thanks for the photos, which I am sure will be as widely admired as the others have been." Rossetti's letter acknowledging the Pilgrim's Progress was friendly and encouraging. 16 Cheyne Walk, Chelsea, December ith, 1864. My dear Shields, — Many warm thanks for your "Pilgrim" with its generous inscription, of which I can only say that, taken in conjunction with the volume, it makes me feel astoundingly undeserving. I imagine you have published these designs thus separately in order to get some justice done them in the printing, as they have appeared (have they not ?) in an edition of the Progress. 92 LIFE OF FREDERIC SHIELDS My favourites are still " Christian reading " (in which the idea of the crumpled burden shaping itself into a death's head is in admirable keeping with the spirit of Bunyan) — "Sloth," "Simple," &c. (unusually well cut), "Mercy Fainting " (ditto), and (for its great completeness) the "Good Shepherd," though I have always thought that this subject would be more properly rendered by giving to the Symbolical personation of Christ the character and costume of an actual shepherd rather than an uncertain and somewhat conventional drapery. "Vanity Fair" is an amazement to me, and an envy to my eyesight, though seeming to me to belong less to the highest class of design than some others. I do not see in the description any reference to the Banner of the Lamb surmounted by a severed human head, but presume that this probably symbolised corrupted Christianity. The " Hills Difficulty" and "Caution" are very perfect in style for the material. If you will allow me also to name the one I like least, I should fix on " Moses and Faithful," which seems to me too incongruous an idea to bear embodiment in a picture. Very fine as many of these designs are, I think there is immense progress — especially as regards power of striking execution — in the designs to Defoe's Plague. It is most fortunate that you had these preserved, as you drew them, by photography. I hope I may see you soon, and am meanwhile and ever, yours very sincerely, D. G. Rossetti. Shields was so dissatisfied with the woodcuts of this Plague series, that he gave his friends not copies of the book, but sets of the photographs from the drawings on the wood before cutting. The diary continues : — "December 6th. — With Butterworth to look out lodgings. To Mr. Ruskin's lecture. "December 10th.— To Butterworth's until 10.30, put boats into his drawing. Mary came. Visited poor old Stones. Made his bed. "December 17th. — To Professor Scott's, discovered that he was indeed my father's cousin." PROFESSOR SCOTT 93 Frederic Shields wrote, many years after, the story of his visit to the Scotts in these words : — " I had always known that my father had a cousin, a Professor in London University, who had left him un- answered when he wrote to him during his last illness. When Ruskin came to Manchester to give his lectures on ' King's Libraries,' &c, he stayed with Professor A. J. Scott, of Owens College, at Halliwell Lane, Higher Broughton. Robert Crozier, his son George, William Hull, and others had put into Ruskin's hands examples of their work for his criticism, and I was deputed to call for these drawings, as I knew Mr. Ruskin slightly. On the morning of his departure I was at Professor Scott's house early, and was told by the servant that Mr. Ruskin had left by an earlier train than he originally proposed. I, who had hoped to hear some expression of opinion about my friends' works, was turning away, when I heard a sweet female voice from the stair landing enquire if some one had called for Mr. Ruskin, and I was asked in to stand before a presence that won fullest confidence at a glance. I told my errand. '• ' The drawings are here ; Mr. Ruskin has been de- lighted with them. Are you one of the artists?' 'No.' ' Then what is your name ? ' I gave it. The lady started, and with a strange light in her eyes said, ' What was your father's name ? ' ' John Shields.' With loving impulse she drew me near to her, and kissed my brow, while the tears started to her eyes as she told me how, when my father's letter had reached them, they were in the throes of removal from London, and how, over and over again, she had hunted persistently for it, lost in the confusion, without success. How they had grieved sorely, as they conceived how pained my dear father must have been at his cousin's apparent disregard — and then last, she exulted that I was found, on whom to pour out the long pent kindness. 'And now I must go and tell my husband.' 94 LIFE OF FREDERIC SHIELDS I was left, I, who had no relative in broad England, a lonely, unattached being, astonished under this strange uncovering. And then, wrapped in a grey Scotch plaid for warmth, for he was already failing in health, there entered the room alone he whom I was so anxiously expecting. The portrait that I afterwards drew of that noble head is the best witness of how he impressed me. He clasped my hands in silence, looking piercingly through me, and then asked me to sit down and tell him of my father's illness and death, and my own life since. As I recounted all — my sister's death, my father's, my mother's, my two younger brothers', and my own stern struggles with nakedness and starvation, he broke in with strong emotion : ' I cannot bear to hear it ; tell me no more.' I less walked than danced my way back to Hulme in an ecstasy of unspeakable emotions. Not many months after that Professor Scott was taken away for change to Switzerland, and while I was at Porlock a letter reached me from Mrs. Scott that told me of the great bereave- ment. Many of the present generation know the worth of character of his only son, J. A. Scott — afterwards my firm and noble friend." To return to the diary of 1864. On the day after the eventful interview with Mrs. Scott, the entry runs : — "December 19th. — To Mr. Muckley's, painting Dr. Crompton's boy. To Professor Scott's at 5 until 10 — met the Winnington pupils." CHAPTER VI Visiting the sick — Sketching — Eossetti's " Hesterna Rosa" — Offer from William Morris & Co. — Alexander M'Laren — The Snow Picture — Farewells — Elected to the Old Water-Colour Society — Winnington Hall — London again — Illustrated London News — Ruskin at Denmark Hill — C. H. Bennett — Swinburne — Simeon Solomon — Sam Bough's letter — The " Nativity " design — Street music. In 1865 the diary continues: — "January 4th. — To sketch snow. Victoria Station. Guard says No Snow. Not go. Back. Wesley design. To-day Joe Waring brought me the news of Jane Hoyle's death and of her father's on the same day. Have mercy on this foolish people, Lord, and let them take warning. And on me, to-day if Ye will. Thou Whose throne is Heaven, Whose footstool Earth, Thou awful God, have mercy for Thy Son's Sake." Jane Hoyle and her father were apparently among the poor folk in the neighbourhood who were regularly visited and prayed with by Shields and his fellow-workers at the Ragged School. In Mr. William Rossetti's volume of Rossetti Papers he publishes the following letter, which was evidently written in reply to Rossetti's letter of December 4th. The picture referred to is the water-colour "Hesterna Rosa." It was the first of several purchased by Mr. Craven, an early friend and patron of Shields in Man- chester. Mr. Craven's collection then consisted of a fine group of David Cox's and a number of Fred Taylor's, and Absolom's. At the suggestion of Shields, he asked Rossetti to paint a water-colour for him, and this led to 95 96 LIFE OF FREDERIC SHIELDS the formation of his noble collection of water-colours by Rossetti, Madox Brown, and Burne-Jones, eventually dispersed at Christie's. 50 Russell Street, Hulme, Manchester, January 9th, 1865. My dear Sir, — On Friday last I saw the "Hesterna Rosa." What a blaze of glory I received as my first impression. . . . And I am not alone in this. Mr. Craven said, " I wrote very little more than an acknowledgment to Mr. Rossetti, for I was afraid that, if I attempted to write what I felt, it would appear fulsome." . . . I was astonished that you should have dwelt so care- fully on my designs in the book as your remarks made evident. I know the "Moses and Faithful" is a sad failure, but I cannot lay the blame on the unfitness of the sub- ject for pictorial treatment. I think I could do it very differently now — for I feel the truth Bunyan would here convey better than I did when I made that design. I think it might be made so much of by one who could do it rightly. I also quite agree with you that it would have been better to have made the "Good Shepherd" in actual Shepherd's dress ; but one can only bear to think of the oriental Shepherd in such connection, and this would have necessitated Syrian sheep, about which I know nothing; so that I thought it better to keep to my English sheep, and the old conventional role. You credit me with too much thought and intention when you suppose that I meant the lamb on the banner in the " Vanity Fair " to have any deeper motive than a reference to the ensign of that bloody mercenary of James II — Colonel Kirke — who so cruelly murdered the poor Somer- setshire peasantry after Monmouth's insurrection. It is one of their heads that I suppose to surmount the pike of the flagstaff. Colonel Kirke seemed to me to supply a figure of that military life which seeks only its own emolument or glory at the price of the blood and tears of thousands. I should not like to be thought to make Christian turn his back on the soldier altogether — not whilst I remember men like Gardener and Havelock. . . . — Ever most truly yours, Fred. J. Shields. MORRIS AND CO. 97 To this letter Rossetti replied : — 16 Cheyne Walk, Chelsea, 11th January 1865. My dear Shields, — Thanks for your letter. I am extremely pleased that my drawing of "Hesterna Rosa" should find so much favour with you. Mr. Craven had already expressed to me his satisfaction with it, and I judge from what you say that it does not lose in his esteem on better acquaintance, which gratifies me to know. I trust before long to be able to write him word of some larger work in hand, according to what you say, if you think his wish sufficiently definite to justify my doing so. At present I have several engaged pictures in progress which pre- occupy me, but I trust not for long. If Mr. Craven were equally willing to have a work in oil instead of water- colour, that material is the one I prefer for larger things, indeed I have never employed water-colour, except on a small scale. I had intended to write before this to say that, according to your wish, I spoke to my brother about noticing the " Pilgrim." Unfortunately, though he admires the work as much as I do, and would have been very glad of a chance of saying so, the only paper which might have been open to him for the purpose (the Reader) he found, on enquiry, had already said something of the designs — I believe very inadequately in his opinion. Should any other opportunity offer, he will avail himself of it. I have been asked by a firm with which I am con- nected (Messrs. Morris, Marshall, Faulkner & Co.) to ask you whether you would be willing to furnish them some- times with designs for stained glass. The firm has now existed for some years, and includes in its Company several artists, whose names you know, and indeed them- selves in some instances, viz. : — Madox Brown, E. B. Jones, and myself. " We " are stained glass manufacturers, and decorators of all kinds, at 8 Red Lion Square. The original plan was for all designs to be made by members of the firm ; but the partners concerned are so occupied always with their pictures that it is often impossible, for long intervals, that they should work for the firm, G 98 LIFE OF FREDERIC SHIELDS and it would be highly serviceable if the managers could rely on aid from without sometimes. Our endeavour has been to make all our work more truly artistic than such work has been hitherto. We have an admirable colourist, William Morris, who gives his whole time to the work of the firm, and all that is needed in the design is the drawing — the colour rests with him. Would you enable me to give him, as manager, an answer to the above question ? The payment for designs would, I should think, be about equal to that for wood-blocks, but he would communicate with you if you are able to entertain the idea. — Believe me (still in hopes of seeing you), very sincerely yours, D. G. Rossetti. The idea of designing for glass did not commend itself to Shields. In the next letter from Rossetti, dated February 10th, after some reference to Mr. Craven and his desire for a larger picture, he says : " I rather thought that in all probability your engagements would prevent your entertaining Mr. Morris's wish about designing stained glass for him, but thought it better to ask you, as he desired it." " January 16th. — To Town Hall to sketch Executive Committee for M'Lachlan. To Rev. A. M'Laren, not in." It was in this month that he was introduced to the Rev. Alexander M'Laren, by a Mr. Richard Johnson of Fallowfield. M'Laren became his life-long friend and they corresponded until his death in 1910. In February 1865, Frederic Shields was elected a member of the Old Water-Colour Society. "February 3rd. — Worked at drawing for Rowbotham. Packing up for Old Water-Colour Society. Reading Oriental books for Beatitude." Apparently he had arranged for some one at Burton to let him know when there was a fall of snow there, which it was necessary for him to sketch for his picture. "February 14th. — Touched up Whaite's sketch till ROSSETTI AND EXHIBITIONS 99 11. Letter to go to Burton. Started. Walked from Camforth. Got to Burton at 5.15. "February 15th. — Out to sketch snow, failed to find what I want. Feet cold and wet, water frozen at my side." The next three days were spent in much the same way. "February 17th. — Out to snow again, and got done at 3. Left dear Bentham and his wife at 4. Safe home by 8." Rossetti wrote : — " Thanks for your letter. If anything decided occurs to me on the subject in question, I will write to Mr. Craven. In any case I shall be glad to see him when in town. " It is capital hearing that you have been elected into the Old Water-Colour Society. I hope you do not suspect me of any pigheaded or antagonistic notions as to the natural ways of coming before the public. I simply found in youth that the worry of getting ready for exhibitions was unsuited to my disposition, and also with rather mis- placed pride (at that age) refused to submit any work to the Academy, which I considered (not untruly) unfair in its practices. I have therefore no personal cause of com- plaint against them, for I have never sent them a work. In after life I have adhered to my plan of non-exhibition, because I think it is well to adopt early a plan of life, and not lose time afterwards in giving second thoughts to it. It has come right with me — more so, perhaps, than I could expect. But I think that competition and appre- ciation are among an artist's best privileges, and congra- tulate you on securing them." Shields now made preparations to leave Manchester for London, whether with a view to making it his per- manent home, or merely for a visit, is not quite clear. "March 14th. — Model disappointed me. Bentham came, went to Mr. Rawson to see if I could get my money for picture to lend Bentham £14. Worked at Beatitude. 100 LIFE OF FREDERIC SHIELDS " Wednesday 15th. — To see Mr. Rawson — got £30 from him. Lent Bentham £14. Lunch. Bentham sat for Beatitude. Prepared lesson and bade adieu to my dear lads, who presented me with a copy of A. M'Laren's ser- mons. Bed at 11. Never slept from excitement. " March 17th. — To town with E. Gibbs to get his photo- graph taken. Called on Craven and Falkner. Our fare- well meeting at Ormond Street. A most precious night in some respects, the good of which will, I trust, stick by me as long as I live. Bed at 12." The farewells seem to have been somewhat prolonged, for a month later the diary records : ■ • Very affectionate farewell from Mr. Falkner, very, very kind." In April, being still in Manchester, he frequently visited Professor Scott. " April 10th. — To Winnington Hall with Mrs. Scott, to meet Mr. Ruskin." Winnington Hall, and its Principal, Miss Bell, were destined to long retain their influence over Frederic Shields. Forty years later he thus described his first visit : " Winnington well deserved its name, a house full of beautiful rooms, the chimney pieces of Italian work exquisitely carved, fine casts and engravings everywhere, many of Mr. Ruskin's most finished drawings of Venetian architecture, &c, together with a noble collection of minerals, all Mr. Ruskin's loans or gifts. He himself giving lectures or lessons on his visits there — his ' Ethics of the Dust' was prepared for the Winnington pupils. There was a fine library, rich in works upon Art, and beautifully wooded and extensive grounds bordered by the river Weaver, rendered always musical by the fall of its weir. Into this Eden I was introduced, a shy, bashful fellow, alone in the presence of many ladies, for I suppose there were usually seventy girls of varied ages being edu- cated there, with their unique advantages." WINNINGTON HALL 101 No doubt the young artist felt shy and awkward in these novel surroundings, but he soon won approval by his sketches of some of the beautiful young pupils. He used to say that he profited as much by the instruction of the Principal, Miss Bell, as did any of the pupils, for this was only the first of many visits, and the beginning of a long, though not unbroken, friendship. It is interesting to compare the description of Winnington given by Mr. Ruskin in a letter to his father a few years earlier, quoted by Mr. Cook in his Life of Ruskin. He says : " This is such a nice place that I am going to stay till Monday : an enormous, old-fashioned house, full of galleries up and down stairs, but with "magnificently large rooms where wanted, the drawing-room a huge octagon — I suppose at least forty feet high — like the tower of a castle, hung half- way up all round with large and beautiful Turner and Raphael engravings, and with a baronial fireplace ; and in the evening brightly lighted, with groups of girls scattered round it, it is quite a beautiful scene in its way. . . . The house stands in a superb park, full of old trees and sloping down to the river, with a steep bank of trees on either side ; just the kind of thing Mrs. Sherwood likes to describe; and the girls look all as healthy and happy as can be, down to the little six-year-old ones, who, I find, know me by the fairy tale, as the others do by my large books, so I am quite at home." Strangely enough, many years later, Miss Bell, having fallen upon evil days, was teaching a little girl — a name- sake of hers, though no relation — then little more than a six-year-old herself. Daily the old lady came, giving the child interesting desultory instruction, chiefly in painting and nature study, the latter then almost unrecognised as a part of the school curriculum. The little girl now re- members little of the subjects of the lessons, except that they included very careful and minute drawings of budding 102 LIFE OF FREDERIC SHIELDS twigs — it must have been in the spring-time — carefully set up in bottles containing sugar and water, and while the pupil painted Miss Bell would read long extracts from Ruskin with great earnestness. But one thing the little girl (who happens to be now the present writer) remem- bers— the lessons must have sunk deep into her childish heart, for Miss Bell having found a better post to teach a nobleman's children in Russia, the child was sent to a very ordinary school, where, from her spirited arguments with the somewhat unenlightened painting mistress, to whom she impertinently quoted her great authority, she was nicknamed " Little Miss Ruskin." Lady Burne-Jones, also a visitor at Winnington, says in her book, Memorials of E. Burne-Jones : " Miss Bell was an extremely clever woman, of a powerful and master- ful turn of mind, evidently understanding that Ruskin was the greatest man she had ever seen, and that she must make the utmost of the intimacy he accorded her and the interest he took in her school." Their intimacy terminated sadly many years later, and it may be said that the fault was not on Mr. Ruskin's side. But in the case of Frederic Shields the friendship only ended with his visits to Miss Bell during her last hours of life. In April 1865 Shields made his first appearance at the Old Water-Colour Society, and the Illustrated London News thus describes his contributions : — " Mr. Shields has a provincial reputation, but had scarcely been heard of in London. His election a short time since is said to have surprised the artist himself; it will, however, have a very different effect upon everyone else. All his four drawings are small or of very moderate size, and their subjects are of the humblest. One is called f Eleven o'clock a.m.,' and represents a cottager's daughter, a strapping girl of ten or twelve, cutting with a will the huge luncheon slice of bread and butter; THE OLD WATER-COLOUR SOCIETY 103 another is ' The Baby-cart,' a third ' The Pop-gun,' and the last is entitled ' Desire Stronger than Fear ' — two children timidly approaching an old pedlar, tempted by his basket of sweetmeats and gaily coloured paper wind- mills, yet terrified by his portentously ragged, grizzly, hirsute appearance, and possibly in mortal fear of the sack with which he is swathed, and into which they may, recalling some nursery legend, think his encouraging smiles are only designed to inveigle them. Humble, we say, as are the subjects of these drawings, they have rare and true qualities of art. We have no hesitation in saying that for happy rendering of character — and more espe- cially of natural action, gesture, and expression — there are portions in them which will bear comparison even with such a master in similar subjects as Wilkie; and that there is nothing so good, exactly of their kind, in the exhibition. What can surpass the hungry eagerness of that girl with the loaf, or the impish delight of that boy, with his knees so strenuously clamped together, at having just discharged his pop-gun at the little frightened fellow he has persuaded or compelled to kneel before him to be shot ; or the inviting grin of the old cadger, and the alarm of the child clinging to his elder sister's back?" On July 17th Shields was again in London, studying Titian and Veronese in the National Gallery. He saw Ruskin on more than one occasion, and several kindly letters from him, undated, but evidently written at this time, are preserved. In one Ruskin says : " You may come whenever you like, and as often as you like." Again — "You've just one thing to do — to take care always and first of your bodily health — amuse yourself and see the best work while you are in London. All this you must do — or you'll be getting on the wrong road — 104 LIFE OF FREDERIC SHIELDS and for you — the wrong road would mean — Miching Malecho." The diary, irregularly kept, continues : — "July 20th.— To see Mr. Ruskin at 12.30, then to C. H. Bennett. Home at midnight." His friendship with C. H. Bennett lasted until the end of that artist's too brief career. This was their first meeting, but his work had long been known to Shields, first through Bennett's series of etchings for the Pilgrims Progress. He had wandered through London streets seeking for heads that suggested the personages of Bunyan's Allegory. It was reading the preface to this edition that led the young Shields to write to Charles Kingsley for advice about his own project of representing the characters and incidents in the costume and surroundings of Bunyan's time, instead of with the ideal dress and features of Stothard's lovely designs. Drayton Grove, South Kensington, was now Shields' home for many months. Here he renewed acquaintance with Robert Collinson, an old fellow-student in Man- chester, and his wife, and owed much to their generous friendship; in this year also, he first met Mr. Arthur Hughes, whose friendship in after years was very precious to Shields. " August 3rd. — To see Rossetti 12. To Museum, drew ' Young Hercules.' C. H. Bennett called, a very happy evening with him, looking at Tintoret prints, &c. " September 20th.— To Museum till 10. Began 'Nativity' design. To see Jones, met Swinburne." This meeting was described in later years. " My first sight of Swinburne was at a reception at Burne-Jones's house. I saw an impenetrably close knot of listeners gathered round some central point of interest — what or who was it ? A mass of rich auburn hair leaped up for a moment, disappeared and reappeared indicative of some SAM BOUGH 105 excitable being pouring forth unseen. This I afterwards learned was Swinburne." "September 30th. — Rossetti called. 'Nativity,' study of old man's hands. To E. Poynter, Simeon Solomon and Armstrong." For the work of that ill-fated genius, Simeon Solomon, Shields always expressed the greatest admiration. At this period he was advising his Manchester friend, Mr. Johnson, to purchase some chalk drawings by Solomon, who wrote a friendly letter of thanks. In after years, when nearly at the end of his tragic career, Shields came across him again, and would again have befriended him, had it been possible. The diary is now very irregularly kept, but evidently some other exhibition was pending, either in London or Manchester, for which the early water-colour, bought by Sam Bough, was desired. Chambers, 2 Hill Street, Edinburgh, 20th October 1865. My dear Shields, — Surely you can have the drawing to exhibit. Where is it to be sent to — and when ? I was very ill nearly all the time I was in London — couldn't tell what was the matter with me, but found out when I got home that it was Chronic Bronchitis, and from that cause you must perceive that I was in no condition to go anywhere. This has been a miserable summer with me, I have done nothing, but must now stick in and try what I can for the winter Exhibition here. I hope you have been well. I can't tell you how much pleased I was to hear of your success, and I am very sure that there is still greater luck in store for you. I can't make up my mind to leave Scotland. I have been here too long to like going, and, though I detest the people and wouldn't cry if the fate of Sodom and Gomorrah Overtook the blasted lot, I can't easily hook it. If I came to London, I am pretty certain to fall into the Theatre again, and that my wife won't hear of. 106 LIFE OF FREDERIC SHIELDS Bradly was here two or three days ago ; he is making some drawings down at St. Monace, on the Fife coast ; he had been in the Highlands, and I saw his sketches, very good they are — he is a clever chap and will do well. C. H. Mitchell has been down in Scotland also, but I didn't see him. B. said he was ill the whole time he was here. I shall be glad to have the photo from Duval, I expect the dear old boy down here shortly. With all good wishes, — I am, my dear Fred, yours very faithfully, Sam Bough. The " photo from Duval " may perhaps refer to a photograph of the beautiful "Nativity" design, which was made at the request of Mr. Duval, a portrait painter, "for the frontispiece of a volume of poems by a widow lady whom he desired to serve." It was, for some reason, never used for its original purpose, though Duval expressed himself as being delighted with it. It is undoubtedly one of the artist's finest designs, quite unlike anything hitherto produced ; it marks the commencement of an entirely different period of the development of his genius. On receiving the drawing, Shields evidently wanted to touch it up, and also wished to know whether Bough would like it to be priced in the catalogue of the exhibi- tion. Bough replies November 4th : " Let me say that I am perfectly satisfied with the drawing as it is, and I would really advise you not to touch it. State any price you like in the catalogue, but let me beg you not to sell it, I wouldn't part with it for any money — unless such parting was to do you a service, and then, my dear Shields, you are welcome to it." This must have been the drawing exhibited at the Manchester Shields Exhibition in 1875, catalogued as " In Mother's Absence ; Somersetshire, 1865/' lent by Sam Bough, " The Artist's first Commission." The Nativity (1865) RETURNS TO MANCHESTER 107 The diary is blank for October and November, but shortly after the completion of the " Nativity " design he returned to Manchester, driven away from London by the incessant organ-grinding and street music, and in October he was at work on the portrait of Professor Scott at his house in Halliwell Lane. CHAPTER VII Porlock revisited — Return to London — The Old Water-Colour Society — James Holland's generosity — Bands, organs, nerves — Sandgate — ■ Boulogne — Military pictures — Chelsea — C. H. Bennett's death — Ruskin's help — Manchester again — The old house at Cornbrook Park — Rossetti's letters — Madox Brown and the condemned Fenians — Warwick Brookes. Early in December he returned to Porlock, rejoicing to be again in that romantic region, where he could paint rustic cottages, picturesque fishermen and their surroundings, and the dear, troublesome country children, who figure so vividly in these early pictures. He remained there until April, when the diary records: " Left Porlock with much sorrow." The months at Porlock were always a happy memory to Shields. All the peasantry knew him, and there were few dwellings into which he was not welcomed ; he visited the sick, taught the children in the Sunday School, and made friends with some of the fine old fishermen. Doubt- less this visit did much to restore his nerves after the distractions of London life. He returned to London in April, for the diary records : — " April 20th. — To National Gallery. To tailor's to order new clothes. " April 21st. — Not well, could not work. To Water- Colour Gallery. Introduced to Gilbert, Goodall, Burton, Fripp, Holland, &c. "April 23rd. — Worked on Snow Picture all day, "April 2ttli. — Snow Picture until 6. Buttenvorth called, went with him to his house." 108 "ONE OF OUR BREAD WATCHERS" 109 The Snow Picture referred to was " One of our Bread Watchers," now in the Manchester Art Gallery. Studies for this had been made more than a year before. At Porlock on one occasion the artist worked for three days upon a snow-covered ploughed field, sharing the privations which his little model and many other boys and girls endured for the poorest wage. The children were left from dawn to dusk, armed with wooden rattles, in shelters rudely constructed of gorse and hurdles, to scare the birds from the newly sown corn, a small fire being lighted on the ground, as shown in the picture, to keep the poor little bird-watcher from freezing. This picture, as the diaries show, was worked upon until the last moment, and when it was taken to the gallery on April 25th it was a day too late. The walls were nearly hung. An old member, James Holland, in his admiration for the new comer's work, took down one of his own pictures hung upon the line and put the " Bread Watcher " in its place — an act of rare generosity never forgotten by Shields. The picture was rather well reproduced with an appreciative notice in the Illustrated Times, August 11th, 1866. It was sold at Christie's in 1894 for £100 (Agnew). " May 1st. — To City to meet Mr. Rowbotham, to sales, and Old Water-Colour, and New Society with him. To Charles Dickens' reading. Home 1.30. " May 14^.— Still unwell. To see Rossetti till 2." The diary is almost blank for several months after this entry, probably owing to the nervous breakdown he suffered at this period. Early years of privation had given Shields little chance to build up a physique of normal strength. His vitality was astonishing, but the intense nervous tension of years of overwork and under- feeding, his terribly depressing views of life, with his astounding energy and power of concentration, left him little strength to cope with the everyday distractions of 110 LIFE OF FKEDERIC SHIELDS town life. No doubt the fact of his having lived alone for so many years made it more difficult for him to adapt himself to his new surroundings. He said of this time : " I have counted as many as seven organs in a morning at Chelsea, with German bands. It was this infliction that had brought me so low — nothing else." Presumably the nervous system of a genius is always in a more or less abnormal condition ; certain it is that to the end of his life even a distant organ-grinder would cause an amount of acute distress quite incomprehensible to an ordinary individual, while a barking dog, or even the twittering of sparrows on the studio roof, was distracting as the roar of a lion would be to most people. For six months he could do no work, and his medical advisers took a grave view of his case. One doctor ordered him to Ems, but to use Shields' own words, " he might as well have ordered me to the moon." He then asked his patient if he could afford to go to Boulogne, and this was settled. However, Robert Collinson and his wife were going to Sandgate, and persuaded Shields to go with them. A stay of some months, and the companion- ship of his friends, failed to restore him. The Collin- sons left Sandgate in September, and after an attempt at sketching in the camp, Shields made up his mind to go to Boulogne. For the first time setting his foot on foreign soil, he found everything strange and of new in- terest. His worn-out nerves began to regain tone, and within a fortnight he was busily sketching among the French fisherfolk. He had seen enough of camp life at Sandgate to interest him and returned there at the end of the year, making a stay of some months, and there producing his only military pictures, " The Bugler," sometimes called " Sounding the Retreat at Inkerman," now the property of Sir William Houldsworth, the "Drummer Boy's Dream," "AFTER THE STORMING" 111 and " After the Storming." 1 The last named, a pathetic and realistic picture of a dying drummer boy, wonderfully vivid in colour, is unlike any other work by Shields. Of these pictures the artist wrote in later years : "I remem- ber sitting beneath my umbrella, in a pouring downfall of rain, the day after a review, to obtain the look of the soaked ground cut up by the wheels of the artillery. f After the Storming ' was suggested by an incident of a review, where a drummer boy fainted and a comrade brought water to him in his bugle from a little stream near by." From Sandgate Shields returned for a time to London, where he lodged in Pherie Street, Chelsea. " The Bugler " was finished there, and he records that Rossetti came to see it. Manchester, 21th April 1867. My dear Sir, — The Manchester Examiner of this morning gave me your address at the top of a letter of yours which Ruskin has printed in one of his to some working men. I daresay you have seen it. I have long been looking for some way of thanking you for that very sweet and thoughtful and devout " Right- eousness and Peace have kissed each other " which you were good enough to send me, and for the friendly words pencilled on the margin. I did not know whether you were in England, and had no means of finding out. I hope you are growing— which is what people mean, if they are wise, when they say succeeding. I for one wait to hear of your work and shall have fallen from a great hope if you do not become a teacher and a blessing to us. — With kind regards, I am, my dear Sir, yours truly, Alexander M'Laren. The letter referred to was probably one written to Ruskin on the death of C. H. Bennett, which was a great 1 Now in the collection of Mr, Leicester Collier. 112 LIFE OF FREDERIC SHIELDS grief to Shields. The letter is printed in Time and Tide — the names being omitted. 1 Phbne Street, Chelsea, April 10th, 1867. My dear Mr. Ruskin,— It is long since you have heard of me, and now I ask your patience with me for a little. I have but just returned from the funeral of my dear friend C. H. Bennett, the first artist friend I made in London, a loved and prized one. For years he had lived in the very humblest way, fighting his battle of life against mean appreciation of his talents, the wants_ of a - rising family, and frequent attacks of illness, crippling him for two months at a time, the wolf at the door meanwhile. But about two years since his prospects brightened and he had but a few weeks since ventured on a large house. His eldest boy of seventeen years, a very intelligent youth, so strongly desired to be a civil engineer that Bennett, not being able to pay the large premium required for his apprenticeship, had been made very glad by the consent of W. Penn, of Millwall, to receive him without a premium after the boy should have spent some time at King's College in the study of mechanics. The rest is a sad story. About a fortnight ago Bennett was taken ill, and died last week, the doctors say, of sheer physical exhaus- tion, not thirty-nine years of age, leaving eight young children, and his poor widow expecting her confinement, and so weak and ill as to be incapable of effort. This youth is the eldest, and the other children range downwards to a babe of eighteen months. There is not one who knew him, I believe, that will not give cheerfully, to their ability, for his wife and children ; but such aid will go but a little way in this painful case ; and it would be a real boon to this poor widow if some of her children could be got into an orphan asylum. If you are able to do anything I would send particulars of the age and sex of the children. — I remain, ever obediently yours, Fred. J. Shields. p.#. — I ought to say that poor Bennett has been quite unable to save, with his large family ; and that they would be utterly destitute now, but for the kindness of some with whom he was professionally connected. RUSKIN AND BENNETT 113 Ruskin replied with warm sympathy, sending £20 for the widow, and saying : " I never heard of anything more sad — though I hear of awful things daily." A few months after this Shields again fled from London noise to the comparative quiet of Manchester. In October Rossetti wrote : — 16 Cheynb Walk, 23rd October 1867. My dear Shields, — Sending off the drawing at last to-day to Manchester, to M'Connell (who, however, is in Wales), I am so forcibly put in mind of one of the best of fellows, now at Manchester, that I cannot help writing him this line. I should be very glad to hear how you are and how progressing. I myself have been mostly hard at work since seeing you, though I was away in the country for a short time, and may possibly go again. I hardly know what news to give you of my monoton- ous proceedings, which have consisted chiefly of producing copies, for the last month or two, from my larger pictures in hand, with the exception of this thing, finished for M'Connell. I am on the point of building a studio at last in the garden, and am negotiating for the stables, as Webb, the architect, declares it would be madness to begin building right out if I can get such a good beginning as they would afford. I wish, if I can be in any way of the slightest service in London, you would let me know at all times, and be- lieve me, ever yours affectionately, D. G. Rossetti. P.S. — I find that you were really a shield to the neighbourhood, and are dreadfully missed when razzias occur on the part of organ-grinders, brass bands, et hoc genus omne. So say the neighbours. Mr. M'Connell was another early friend and generous patron of Shields. He had just purchased his " Bugler " picture, and was introduced by Shields to Rossetti. Mean- H 114 LIFE OF FREDERIC SHIELDS while, in Cornbrook Park, Shields had found an old detached house, long unoccupied, with a lovely over- grown neglected garden and a great walled open space in front. Far from organ-grinders and bands, here quiet seemed attained, and Rossetti, writing again on Novem- ber 16th, says : — " I congratulate you supremely on having attained at last to complete desolation as regards social propinquity. I suppose from what you say that you can even take good walks without seeing or hearing your kind. Nothing could suit me better, and I still hope to be an outcast from humanity one of these days. " I have received a ticket for the Private View of the W.C. Sketches, which I suppose is another mark of your bearing me in mind. " I do not know that I shall go on that day, as humanity will be rather too rampant ; but sometime when the thing has proved a failure, to a sufficiently encouraging extent, I may seek it for a desert walk, and hope to meet you there in spirit. I have not heard from Mr. M'Connell how he likes the ' Tristram,' and have an idea he may not perhaps care much about it. This I should regret, but could not help, as I did my best for it and certainly came as near satisfying myself as I have done in most cases with water-colours — perhaps in any. If you have seen it I should feel more interested in your verdict. You are remembered and desired again by all friends here, and by none more than by your affectionate " D. G. Rossetti." A few weeks later Madox Brown writes, evidently in great excitement. 37 Fitzeoy Squaee, November 20th, 1867. Dear Shields, — I have only time for a few words — Gabriel is here and it is 2 in the morning, and what I have to say is this ; can you get the 2 names given iu as signatures to the memorial now in course of being sent in The Bugler (1866) By permission of Sir William Houldsivorth , Barf. THE CONDEMNED FENIANS 115 in favour of the 5 Fenians under sentence now in Man- chester ? We know your sympathies are in the right direction. — As ever yours, Ford Madox Brown. Dante G. Rossetti. A day or two afterwards an appeal from Swinburne for mercy for the Fenians appeared in the Morning Star. 37 Fitzeoy Sqxjakb, W., November 23rd, 1867. Dearest Shields, — Thanks for your kind true-hearted letter. It is now too late for any of us to be of use in this black matter. This most egregious piece of Government folly is consummated, and I fear it will be long before the bitter fruits of it will be all swallowed and got rid of. Your heart is in the right place, and Swinburne's too, bless the little man, and old Gabriel's too, thank heaven — few others that I can make out. I am at least glad that our opinions have been recorded — thanks to your prompt action in the case of Gabriel and myself. To you, sus- ceptible and excitable as you are, the scenes and the suspense must have been most painful and exhausting. I only hope it may prove the downfall of the present bad Tory Government, good of any other kind to come from it one cannot expect. Enough — one must try and forget it for the present at least. Mrs. Brown was asking this morning if you might not be persuaded to spend Christmas with us. I wish you would. It will be a mighty sober affair with us, I expect, only one elderly female cousin of mine with us. Try and do it ! — And believe always in our most affectionate regards and wishes for you. Ford Madox Brown. Among the pictures completed during the years from 1866-1869, may be named " Rahab awaiting the Coming of Joshua" — this was apparently painted for the generous commission of Sir Walter James, who left the choice of subject, size, and medium to the artist, " Wesley Preaching 116 LIFE OF FREDERIC SHIELDS at Bolton," "The Sisters," a very beautiful little water- colour called " The Nautilus," probably from sketches at Boulogne, the water-colour of " Solomon Eagle " now in the Manchester City Art Gallery, " Sappho, " and others. No one could have been more eager to help his friends or his friends' friends than Shields. Indeed, in after years he and Madox Brown seemed rarely to be without some helpless widow with a large family on their hands, or some unappreciated genius who had to be helped with a sub- scription, or an exhibition, or a raffle. A big commission either to Brown, Shields, or Rossetti usually had the immediate effect of making the fortunate one write at once with an offer of a loan of five or ten pounds to both the others — sometimes :< the tin " was despatched without any preliminary offer — and on rare occasions was returned if there was no immediate need for it. Shields was perhaps the only one of the three who had a real horror of debt, and who would suffer any personal ^privation rather than incur it. Mr. William Rossetti includes the following letter in his Rossetti Papers: — Coenbeook House, Manchesteb, 17th February 1868. My dear Rossetti, — For the past month — that is, ever since Mr. M'Connell gave me the opportunity of seeing the " Sir Tristram" — I have meant to write how great pleasure I enjoyed in hanging over it ; and if (as you inti- mated) you relied in any measure on my poor opinion, it will satisfy you to know I indeed think with you that it approaches nearer to the highest standard than anything you have yet achieved in water-colour. Let me say how much the subject of your last note gratified me, for I have known Warwick Brookes for some years, but not intimately, his disposition being too retiring for that. Your information concerning him is not very accurate, for he must be nearer fifty than forty, and has a family of six children, the eldest girl being about sixteen WARWICK BROOKES 117 years. With this young family he never dared to venture to give up a situation as pattern designer for ladies dresses which he held in a firm here, and which brought him in a settled sum per week, for the uncertain and fluctuating remuneration attending the profession of art. So that all you have seen, and much more, has been done during the leisure hours of his evenings and Saturday afternoons. For two years back he has been lying sick of consumption ; and his main, perhaps his only, source of income has been the sale of the set of photos, with which you are acquainted. Sir Walter James has most generously exerted himself to spread the circulation, and other friends have done their best also. He is too independent in temper to accept help in any other way ; but I am certain would feel both grateful and pleased with such assistance as you can secure for him in this way. The price of the set is four pounds. 1 took the liberty, believing it would gladden his sick chamber, of showing him your letter on Saturday night ; and though he was too weak to read it himself, he most earnestly expressed his estimation of your approval. — Most truly yours, Frederic J. Shields. Rossetti replied : — 16 Cheyne Walk, 21st Febmtary 1868. My dear Shields, — Your letter calls for my thanks in various ways. First, about Warwick Brookes, whom I almost guessed to be more of a regular artist than had been represented to me. I shall be anxious to have a set of his admirable photo'd drawings, and will write him with this, enclosing the £4. When here I have little doubt their being seen must lead to further sales. Howell, to whom I spoke on the subject and who saw the photos at my mother's, at once said he would undertake that Ruskin would wish to have an original drawing. I will speak further to him when my own photographs arrive. It is melancholy to think that any aid and appreciation, such as the drawings cannot fail to excite, will come only at such a painful time. Is there really no hope of recovery ? I cannot understand how such an artist can have failed so long to obtain employment from the dealers in Manchester. His babies are worthy of William Hunt, and have never 118 LIFE OF FREDERIC SHIELDS been surpassed. Does he work in colour ? In such case I fancy employment in London as a copyist to begin with might easily be obtained. But I suppose the health ques- tion now quite negatives this. Now as to Mr. Johnson and the cartoons. I still have the Vineyard set, and though I have lately been asking more for them shall be happy to sell them at the price named to him. My own impression is that I must have said 100 guineas, not pounds (because I always do so) ; but if he and you are under the other impression, so be it. The frame will require to be written on, after which I can send the set. Where should it go to ? I should have to charge the carriage and case to Mr. Johnson. What is his address? One thing more on this point. I have another set of six (the Vineyard is seven including a double-sized one) from the legend of St. George and the Dragon. They are framed to match the Vineyard set ; and as it would be a relief to me to clear my walls and hang other things, I would part with the two sets together for 170 guineas if Mr. Johnson liked to have both. As I presume he must propose hang- ing the one set in some hall or suchlike place, the effect would he greatly enhanced by having the two sets, and one is quite equal to the other. If you can conveniently mention this to him, will you do so ? Otherwise it does not matter, as also regarding the question between pounds and guineas, which must not be raised at all if you have to write or be in any way troubled about it. What you say of the " Tristram " drawing is very gratifying to me. As regards the application of the Leeds Committee for it, this makes me somewhat anxious, as it is the third application of the kind which has come to my ears. I had some time ago, and have since had renewed, a promise from Mr. Baring, the head commissioner, that no works of mine should be applied for, or even admitted if offered ; but it is quite comprehensible that in such a multitudinous scheme of operations a slight matter of this kind might get overlooked. I consider the point all important to me now, as to which you understand my precise views. Only a thoroughly well considered and sufficiently important appearance in public, after all these years of partial repu- tation on grounds chiefly unknown, could do otherwise WARWICK BROOKES 119 than greatly damage me ; and this could only be obtained by my having myself full control and selection. In short, at present nothing would be so discouraging to me as to be forced before the public in a sudden and incomplete way, and I am most anxious to do all I can to prevent it. Mr. Craven and Mr. MConnell (thanks to you) have now been secured on my side. You know Mr. Long ; shall you be seeing him, and if so, could you see whether he has been applied to and with what result ? I would write to him if necessary. . . . Don't suppose that I mean to worry you about my trumpery thin-skinned interests, but a hint from you, if you possess the means, might enable me to act for myself. Do you know when the Leeds gallery opens ? Daylight at this distance from town being only avail- able for painting, I have actually never as yet seen the Old Water-Colour sketches, though I have meant to do so and may yet. I am glad you will appear in the main exhibition ; but you do not tell me much of your own doings. I heard from Chapman that your " Drummer Boy " drawing was exhibited at Manchester. I hope with good result, as it certainly ought to have served you well. . . . Have you continued on the tack of the " Rahab " in subject and treatment, or have you done subjects of the present day ? I hope to have a full and satisfactory talk with you on all points of interest to both of us (and we have many in common) when you come again to London, and hope further that that may be soon. Old Brown is as choice an old master as ever, and all friends I think well on the whole. — Your affectionate D. G. Rossetti. P.S. — You know I could always lodge you on a run to London. Rossetti always made it a condition with the purchasers of his pictures that they should not be exhibited without his consent. It is pleasant to be able to record that through the enthusiastic support of Shields, Dr. Crompton, Rossetti, and others, Warwick Brookes received the recog- nition he deserved, and was enabled to continue his work 120 LIFE OF FREDERIC SHIELDS for many years in comparative ease and prosperity. Lord Northbourne brought him to the notice of the Prime Minister, and Mr. Gladstone took an active interest in him, inviting him to Hawarden. Through Mr. Gladstone, Brookes' work was shown to Queen Victoria, who pur- chased specimens ; and she consented to Mr. Gladstone's proposal that Warwick Brookes should be granted a pen- sion of one hundred pounds per annum, and that it should be dated from the previous year. His biographer, Mr. Letherbrow, himself a dear friend of Shields, relates : " For eleven years longer, hopeful and happy to the end, Mr. Brookes worked on at home, and making short excursions to beautiful country lanes and green spots, producing a series of exquisite studies." On hearing of his death, Mr. Gladstone wrote a most touching letter of sympathy to his son, and subsequently forwarded a donation of a hundred pounds to the widow from the Queen's Bounty. It is interesting to note the difference of spirit — or perhaps one should say nerves — between Brookes and his friend Shields as illustrated by the following anecdote. On the evening of Brookes' death an Italian woman came and played an organ in front of the house. Fearing the noise would disturb the dying man, they were about to send her away; but he reproved them saying, " Don't send her away ; she is the countrywoman of Raphael ! " CHAPTER VIII M'Lachlan the photographer — Arthur Hughes — Madox Brown's advice — Chloral — Illness — Winnington — Ruskin's generous offer— M'Connell's invitation — Rossetti's method of chalk drawing. In the diaries and elsewhere has been mentioned the name of M'Lachlan, for whom Shields worked at several periods of his career, more from friendship for M'Lachlan than from any liking for the work entrusted to him. M'Lachlan was a photographer who was given to composing — with the assistance of Shields and other artists — large groups of celebrities — notably the terrible " Royal Group " which was afterwards the subject of much litigation, and of which we shall hear more later. At present it was a group of the Relief Committee for the Cotton Famine. From illness and other causes Shields was anxious to find some one to take his place in assisting M'Lachlan, and ultimately introduced his friend Arthur Hughes. Madox Brown wrote : — 1 Blenheim Place, Apsley Road, Great Yarmouth, August 10th, 1868. Dear Shields, — I received your kind letter just as I was leaving for this place, where I am pretty well with but little traces of the old attack at present. ... By the way, I forgot to answer your enquiry about Swinburne. The accident was not severe, and in spite of all the penny- a-liner could say, he was out the next day. But the worst of it is that the accident was caused by a fit — a slight one, no doubt, still a fit, which is not the first of the kind he has had. He is now with his parents in Oxford- shire and quiet and safe for a time. I have written to Hughes, explaining as well as I could 121 122 LIFE OF FREDERIC SHIELDS the peculiarities of the case of M'Lachlan, also mentioning what you wished to know as to the prices of his water- colours. I don't know if he will answer me here or wait till I am back home, which will be in two or three days. I am glad to hear you are at work again, because I conceive from that that you are getting all right again. I must prescribe for you now. Remember my old advice : when nervousness and debility supervene take wine ! Begin with a glass the first thing in the morning and repeat the dose at intervals during the day, measuring it so as never to allow it to produce confusion, and never to let the spirits droop. If you can't sleep, porter and biscuits, or hot water and brandy ; if you wake up with a start, more brandy and water — and wine the first thing in the morning — but — as soon as good ensues from it, begin leaving it off by degrees. This and change of scene — you know my course of tonics of old. I think Hughes would be likely to photograph well if he will do the work, because his modelling is always strong and dark, and as he is a good worker he might possibly undertake the job with advantage. Robertson is, I believe, rather slow, very painstaking and slightly timid ; and being used to portrait painters' prices, I fear he might scarcely see his way to undertake a work with thirty figures in it. But if Hughes cannot do the thing, I have the letter written out to Robertson. Nolly shall make you some sketch before long. Mrs. Brown and Cathy join with me in kind remembrances and best wishes. — Always yours faithfully, Ford Madox Brown. The medical advice given in this letter was probably in the nature of a joke, for Madox Brown was doubtless aware of Shields' strict views on temperance. Unfortunately he gave him some advice of a much more dangerous nature in a letter written soon after this. He says : " Stillman who is here has given me the name of a splendid sleeping potion — Hydrate of Chloral 1 dram in 1 oz. of water, and take one to four teaspoonfuls as needed." RUSKIN'S KINDNESS 123 Unhappily this advice was followed by Shields, and he was for years more or less enslaved by the drug, and only broke from it in 1874 or 1875. He wrote in later life, referring to Rossetti's illness : " Chloral gives only deathlike stupefaction without restorative power. The suicidal despondency produced by Chloral I know too well — only a resolute severance from it saved myself. No friend had the same experimental sympathy with Gabriel as I had." Ruskin wrote more than once during this summer thanking Shields warmly for help he had given at Win- nington. He advised him about some casts of Greek coins, probably for the use of the pupils there, introducing him to Mr. Ready of the British Museum. Ruskin was also concerned by Miss Bell's reports as to Shields' health, and wrote in September the kindest letter, signed "Ever yours affectionately," in which he says : — " I should be very grateful to you if you could trust my respect for your genius so far as to let me make you a little present of such sum as would enable you to take perfect rest during the remainder of the autumn. Please write directly to Poste Restante, Abbeville, and tell me what would enable you to do so." In a note, years later, Shields wrote : — " Let me also here record that twice in my life, hearing through friends that I was run down in health, Mr. Ruskin wrote to me, asking me to take from him freely such sum as would have given me change and rest. But I sought only his esteem and friendship, and therefore declined an aid that might have made me numbered with many, whom I knew preyed, leech-like, on his purse." Madox Brown wrote on October 10th : — " From M'Lachlan I have heard the most flourishing accounts of yourself, your house, and your work. As for 124 LIFE OF FREDERIC SHIELDS myself, I was ill twice this summer, but suffered more in comfort and looks than in work ; for though I was in bed at least two months in all, I certainly did not lose more than three weeks of work. I was only too glad to be able to wile away the time in painting the moment it was possible. . . . " As to Gabriel, he is, he tells me, much better as to health and sleep, and the air of the North seems to suit him, but the thing that troubles him is his eyesight ; this, however, is at present a strict secret ; it alarms him more than I can say ; but, as far as I can understand, the case is a very common one, having to do with his general health and not the optic nerves — at least, both oculists and doctors agree about it, But as yet it seems he has found no relief, though improved in health. I have no doubt he will be all right in a few weeks, if he continues to rest as he is now doing ; I don't think he has been overworking himself lately ; certainly not at the ' Perseus,' for it is not begun ; but for a long time — 10 or 15 years past — his life has been one of perpetual toil and anxiety, and he is now beginning to feel it. I will write to you any favourable news as soon as it may come to hand. Hughes will, I hope, get on with M'Lachlan ; I am sure if he cannot satisfy him, no one else will." A little later he wrote again about the photographic work : — " Hughes has, I am happy to say, concluded a rather favourable bargain with M'Lachlan, which I trust will turn out to the advantage of both. " He was exceedingly interested in M'Lachlan once he had seen him, though before that he was getting a little tired of his pertinacity I suspect. I told M'Lachlan that it was a chance in a thousand for him to have got Hughes, and that if he did not profit by it, he might bid good-bye to his undertaking. I saw Rossetti's doctor to- day— whom I wish, by the bye, you would consult. He had a letter later than I have had. Gabriel now begins to feel his eyes better in Scotland, and is convinced that it has to do with his general health, and has some thought ARTHUR HUGHES 125 of wintering in Ayrshire. My ' Elijah ' is progressing rapidly. Mother and son both near finished, only Elijah's head and the hen and chick not painted in yet. Those who have seen it seem to think it will be my finest draw- ing. What are you going to send to the Sketch Exhibi- tion ? I trust you will put in a good appearance though hindered by health." Arthur Hughes undertook the work, which was appar- ently to copy the photographs, correcting the composition of the group and improving the portraits, the whole then being photographed again by M'Lachlan. On December 15th, 1868, Hughes writes : — " Not having yet received the great group from M'Lachlan, I begin to fear that he is still trying to make some improvements in it, and if so, as I think, wearing himself out unnecessarily ; for what points there are where improvement is to be done, will, I firmly believe, yield to me. I would like to tell you how very much I like your drawings at the Old Water-Colour Society. It is very seldom one sees such perfect pieces of drawing. The heads fascinate one from their individuality just as a face very full of character does in life, and do, and do not, most happily make one forget the artist, it is too rare to see such entire unaffectedness and loyalty to nature with such power." M'Lachlan seems to have been a man of extraordinary pertinacity, and from subsequent correspondence it is evident that he was a somewhat trying person to work for. Some idea of the maddening nature of the task may be gathered from a letter from Mr. Hughes — undated — in which he says : — " I am awfully sorry to hear that M'Lachlan is poorly, and greatly obliged for your work at the effect of the picture. I agree with all of it, with the exception of the Hayward waistcoat which I fear is calculated to pull the eye from Lord Derby — indeed I shall not wait for you 126 LIFE OF FREDERIC SHIELDS or Mac coming up, but to-morrow morning begin. This is not the eleventh hour, but the eleventh and fiftieth minute, and after all this coaching and experience of the damnable photography I really do understand it." Mr. Arthur Hughes was proverbially a man oi angelic temper and patience, and if the work evoked this ex- pression from him, it can be imagined to what state of exasperation it must have reduced his nervous and excit- able friend Shields. The diary for 1869 is missing, but during that year Shields was in his big, lonely house at Cornbrook, working as before, chiefly in water-colour. In June he prepared for a visit to London, and was asked to stay with Madox Brown, who wrote on June 10th : — " Just as you like — whenever you appear you will be welcome ; " and adds the characteristic postscript : " In spite of what you say in the matter of ' tin,' should you fall short, we will manage it somehow." His good friend Mr. M'Connell, purchaser of several of Shields' early works, wrote from Wales : — August 8th, 1869. My dear Shields, — I am sorry you cannot come just now ; but come when you can, sooner or later. I don't know of anything on our part to prevent you coming, but write as soon as you can fix anything, and let us know if you can come and when, and I will tell you if that will suit us. I am very sorry to hear of your not being well. Perhaps this air might do wonders for you, and if you like I could send you into the mountains for a few days. I have a room or two up at the quarry, right high up in the mountains and amidst beautiful scenery, good bread and splendid milk and Welsh mutton to eat. You have not tried such a place, perhaps it might quite set you up. It would be rather lonely, but only because you are a ROSSETTI AT PENKILL 127 bachelor, and I go there most days. Mrs. M'Connell desires to be kindly remembered. — Yours truly, T. H. M'Connell. P.S. — There are no birds. No Pianos. No Babies. No singing men or singing women. Not even a clock ticking without ceasing. There's Elysium ! Whether this genial note induced Shields to visit Wales is not recorded, but in August he was at Cornbrook, giving much attention to drawing in coloured chalk, and the long letter from Ro'ssetti that follows shows that he was anxious to study methods of working in that medium. Penkill Castle, Gievan, Ayeshiee, 27 th August 1869. My dear Shields, — I was going to write you myself on the two subjects of your letter. Not that I have really any word to say to such fateful horrors as the one which is now crushing poor Craven's soul. They leave me dumb with their anomalous enormity. But I wished to know exactly how he was ; and may probably make up my mind to write him a word, though a stranger like myself naturally doubts his claim to speak at all at such a time. I had already heard something of this terrible circum- stance from Brown since coming here, where I have now been over a week and am, I hope, benefiting by the change. I may probably stay two or three weeks longer. The surroundings of this house are most lovely and soothing — a glen which is quite private and gives pictures at every turn. The inmates are the lady of the house, Miss Boyd, a rarely precious woman, and our friend W. B. Scott, the best of philosophic and poetic natures — a man of the truest genius and one of my oldest companions. So you see I have peace, friendship, and art, all to help me. I wish you were here to share the pleasure and advantage of such sympathetic surroundings. Scott, who read your 128 LIFE OF FREDERIC SHIELDS letter, sends you his love which you seem to have secured, though I do not know how often you have met him. You may be sure the dreadful tidings you give have furnished us with some sad thoughts and talk. . . . At this moment I hear from London that Agnew has called and bought two chalk drawings I left to be shown him for eighty guineas each. If he will go on this will furnish some profitable pot-boiling ; and I tell you, as you were the first to suggest a connection with him. Could I be of any service in lending you a little money just now ? Do, do tell me if I can. I have plenty of good opportunities of earning at present. I have brought no work here with me ; but am occu- pied lazily with the proofs of the poetry I am printing — mostly old things which I find sometimes going about in blundered transcriptions which might some time get into print to the affliction of one's still thin-skinned ghost. So I am putting them in a permanent shape, though I shall not publish yet, not having complete copies of a sufficient quantity of verse. However, I go on writing at times, and may soon break out into publicity. Incentives occur now and then. There is an article on me in Tinsley's Magazine for September, following one on my sister last month, and to be followed, as I judge, by one on my brother next month ! I do not know who is the writer — so, after twenty years one stranger does seem to have discovered one's existence. However, I have no cause to complain, since I have all I need of an essential kind, and have taken little trouble about it, except always in the nature of my work — the poetry especially, in which I have done no pot- boiling at any rate. So I am grateful to that art, and nourish against the other that base grudge which we bear those whom we have treated shabbily. However, I am adding you to that class by all this tirade about myself, and though I do not think the grudge will result on my side, I must beware lest it should on yours. I hope if you have time to write me again it will be with good news after all the bad. Your health is a most anxious subject, and I cannot but think that the extreme excitement and exertion to which I know you subject ROSSETTI ON CHALK DRAWINGS 129 yourself in other kinds of work than Art should be re- mitted for a time as an experiment. Also, and above all, I am sure that the matrimonial question should be kept in view, though here I know one is far from being master of the situation according to one's pleasure. Thanks for remembering about the Warburg tincture. In the matter of chalk drawings I don't know what paper you use. The blue-grey is of course the one tending most to deaden redness ; but it is apt to resist covering for a long time and leave the drawing cold, besides much increasing outlay of work to remedy this. I have lately adopted a very slightly greenish tint instead, which has great advantages ; but, of course, requires caution as to redness. However, if you make a good progress with your tints by merely rubbing with the finger before you put white in at all this difficulty may be combated, as I think the white rubbed into the red is what chiefly reddens it. I have found the piece of grey chalk you brought me useful to deaden little rednesses in finishing, and have therefore got some more from Brodie. One objection to the greenish paper is that it is so light that the white makes at first little effect on it. I think not a bad plan is to make a mixture of black and red powdered chalk, dip a stump in it, rub it almost off the stump again, and then rub the stump all over the paper you are going to work on before you begin. The tint thus rubbed should be no stronger than a sky, but is neutral and pleasant with the greenish tint underneath, and gives a good ground to work into, as the white tells on it and you can bread out lights. I suppose, like myself, you hardly use the stump at all in actual work ; but always rub with the fingers. I will send you my privately printed poems when they are revised and finally struck off. There is some chance, I hope, of Brown soon joining here. I know he would enjoy it enormously. — Ever affec- tionately yours, D. Gabkiel Rossetti. P.S. — If you want grey chalk, or anything else, in London, write a card to H. T. Dunn at my address, and I am sure he will see about it for you. I 130 LIFE OF FREDERIC SHIELDS The latter part of this letter was printed many years later in an article by Shields in the Century Guild Hobby- Horse, on Rossetti's chalk drawings. The article was inspired by a friend, who said : " If the conditions of the age in which we live are adverse to immediate tradition from master to pupil, surely we should at least, when so extraordinary an artist as Rossetti has passed from our midst, seek to lay up as a treasure every fragment of his methods that can be recorded." This reply to the last letter appears in Mr. William Rossetti's book, Rossetti Papers : — Coknbeook Park, Manchester, October 29th, 1869. My dear Rossetti, — Last week I had a note from dear Brown in which he told me that you were not painting, but still writing or correcting poetry. This makes me fear that your stay in Ayrshire has done you no good ; and that in some way, either in your eyesight or otherwise, you are still suffering so much that you cannot pursue the work you love. I am greatly your debtor for the long, full, kind letter you wrote to me while there, as well as for your good offices with Graham. . . . How sad your thoughtful talks with W. B. Scott upon all that poor Craven's affliction suggested must have been ! The philosopher is as blind here as the Christian, and, if he be not both, without the consolations which support the latter. I have seen but little of Scott, and that at your table ; but I know and greatly est-eem much that he has done, especially as one of the most original designers living, whenever he likes to put his full force into his work ; and I beg through you to return, if I may, my love with my admiration, in answer to his own kind message. I wish that Brown had been able to join you as you expected. He is too much closed up indoors, and a blow of glen air would have done him great good, as his company would have done you also. He was like friend and father to me in London during my last visit. I am so glad that you have been doing business with Agnew profitably, for these SHIELDS TO ROSSETTI 131 frequent illnesses of yours will inevitably bring down your purse and make the wherewithal an anxious subject in spite of all determination to hold up bravely. I know this too well in recent experience ; and for this reason, as well as for others, I cannot consent to accept anything from you, even though pressed upon me with your generous impor- tunity. . . . The writer in Tinsley certainly appreciates your work in both arts, and I was on the whole thankful for the article. . . . The notice of your sister, Miss Chris- tina Rossetti, was very disappointing . . . stretched out to its required length by pecking at slight faults in her poems. But he cannot spoil my happiness in them, which is as great, from some of her devotional pieces, as any that poetry has ever afforded me. " After this Judgment " and " The Martyr's Song"" are not easily matchable in reli- gious poetry. As I sit now, looking over her last volume again and recalling the impressions left on me by frequent readings of it, it appears almost invidious to select from these devotional pieces. The " Despised and Rejected " and " Dost Thou not Care ? " must come from her deepest heart. The critic is deaf to all this, and so deaf to what is best in your sister and forces the sweetest notes from her. ... It is so good of you to send me such plain and elaborate instructions about the three-chalk method on grey paper. The opportunity you allowed me of watching you at work was still more valuable to me ; and I think, as a consequence, that the drawings I have done for Graham will turn out successfully. — Ever affectionately yours, Frederic J. Shields. The terrible affliction of Mr. Craven, alluded to in this and in Rossetti's last letter, was the death of his little son, who was thrown from his pony and killed. Arthur Hughes was in Manchester earlier in the year, but this breezy letter shows him again in London. "Adders" (grass snakes!) and other reptiles, being silent, were among the few pets tolerated by Shields. A letter from Madox Brown about this time says : — " I bewail with you the loss of your snake and lizard, — Death has also been busy in Nolly's house — a shiny green 132 LIFE OF FREDERIC SHIELDS lizard, a flame-spotted salamander, and a slimy toad have stretched themselves out and bitten the dust ; Nolly has become more careful in consequence and builds houses of clay and brick lined with wadding for his last lizard, the one you gave him." Arthur Hughes writes : — My dear Shields, — How are you, I wonder? and all your household — adders and toads. I have taken mine to the seaside for a week and came back most virtuously to my work. There's self-denial. Left them at Broadstairs all provided with spades, with which they make trenches and castles and graves in which they bury each other, all but the head, and they have already a collection of sea-monsters in a pail alive — a jelly-fish, a star-fish, some crabs, shrimps, winkles and whelks — and it seems to me a beach is a most interesting and proper place to spend one's life on, doing nothing in the sunshine and eternally doing still more nothing ; but I am writing to say that Goodwin, to whom I mentioned some time ago that you thought your clergyman friend, whose name I rather forget, would perhaps like a drawing, tells me that he has some little ones ready, so I am writing you this scrawl, you see. Perhaps you will scribble a line to him to say if he may send his folio down to you ; his address is : — A. Goodwin, Esq., 10 Waterloo Street, Hove, Brighton. I hope that you are keeping well and better than I have known your general health, and that Fortune has smiled also in other ways on you by this, and am, my dear Shields, — Ever yours, Arthur Hughes. A wealthy patron, Mr. Graham, then M.P. for Glasgow, seems to have been rather disappointing about a com- mission, and both Madox Brown and Rossetti did their best to clear up the misunderstanding, apparently with- MADOX BROWN 133 out success. The struggle with poverty and ill-health was again severe, and Shields' fiercely independent spirit doubtless kept most of his friends in ignorance of his difficulties. A beautiful study of a rose bush, painted in the gardens of Winnington in this year, was shown at the Memorial Exhibition. Long devotion to " Wesley Preaching at Bolton " and " Solomon Eagle " brought no immediate remuneration, and this was probably another reason for the straitened means evident from Madox Brown's letter, dated October 19th, 1869. " Rossetti wrote me .the other day that Graham had just been with him and talking about you, seemed as though ashamed of his conduct — in the matter of the commission. He said he had called upon you in Man- chester but you were out. Rossetti assured him he was of opinion that 200 guineas was a very moderate price for such a work as you had proposed to paint for him, and Graham ended by saying that he repented and would endeavour to renew the commission. You will probably ere now have heard from him, but if not, you may feel sure you will shortly, and should you feel inclined to renew relations with him (and I have no doubt you are too much of a man of the world not to do so), it may be something to cheer you up a bit now that things seem so depressed ; what you say about money matters grieves me more to think you should be bothered at all, than it does even to find you thinking about that paltry loan in the morbid way you do. Why, man, you have been the means of putting hundreds into my pocket. As to what I said about our friend, do not think too much of it. I felt obliged to warn you, on your account as well as my own. I have no proof, except that he is one of the biggest liars in existence — but he is half mad and one never can tell what he will be up to next ; at the same time, he is very good-natured in reality, and I have known him take the greatest trouble to be of use to people whom at the present moment he was injuring in every way by lies and calumnies. He 134 LIFE OF FREDERIC SHIELDS is a perfect enigma. For some time past, the most astounding lies in favour of Burne-Jones and George Watts have been all his game. I heard him tell a string of them to Rossetti and Leyland, of all people, at Rossetti's the other night ; we all knew it was lies, but Leyland next day called at Jones's and ascertained they were lies and went and told Rossetti the result of his enquiries, and still he likes him better than ever, and says so. Rossetti is pretty well, painting little and writing much poetry, and pretty hard up in consequence. I did not go to him at Penkill, circumstances would not permit it — which was to me a disappointment, but I don't much care so long as I can prevail on myself to work, and the family get their outing, and things are kept square somehow. We are all pretty well just now. Nolly, Cathy, and Lucy beginning their season pictures. They would heartily join me in kind remembrances if they knew I was writing. — I am, as ever, sincerely yours, Ford Madox Brown. P.S. — Chameleon's dead. We painted him over with brandy and water for three days, which seemed at first to comfort him and revive him, but it availed not. P. P.S. — I would paint as many Macbeths as any one choose to pay for — upright, lying down, or standing on their heads, if paid for accordingly, but this would be an extra. Experiments with larger heads were made this year. Madox Brown, in an undated letter, writes again : — " The Exhibitions are all in full swing, and the weather, though so fearful with north-east winds, is most beautiful to look at and good for much walking. I saw the chalk studies you sent to the Sketch Exhibition before my last letter; I omitted to say I had seen them, though knowing all the time that I had something important to say. " There was one of a fine-looking girl with laurels which I thought very fine, the throat and head in par- ticular admirably drawn and fine in expression, only the ROSSETTI'S INFLUENCE 135 hands seemed too lumpy. It was evident you had Rossetti in your eye, but he obtains such beautiful models to work from that the delicacy of their forms compensates for the apparent simplicity in bulk. With this exception, I thought the drawings very fine. I must, however, notice (which I trust you will take well from me) that the works I have seen of yours which are most directly under the Rossetti influence are not your successful ones. I have told him this also, and he agrees that I am right. No doubt there is a radical difference in your natures, and though the charm of his genius provokes sym- pathetic emulation in you of a quite legitimate kind, still it is disturbing you in your orbit — but we must talk this matter over at more leisure when you come here and when I have seen your last works. Come up soon and let us know first." Curiously enough, many years later Cosmo Monkhouse, referring to the windows for Eaton Chapel in the Magazine of Art (February 1884), writes: — "There is, indeed, a well-spring of life and sincerity in Mr. Shields' imagination, and it is to be feared that glass, even though painted with his own hand, can never do complete justice to the beauty and originality of the designs, or the vigorous thought and poetical feeling which has been literally lavished on them. With the exception of Burne- Jones, there is no instance in which the personal influence of Dante Rossetti has been at once so powerful and so wholesome." CHAPTER IX Letters to the press — Madox Brown and Rossetti — Agnew and Rossetti's "blessed rhyme" — " Knott Mill Fair " reproduced in the Graphic — Matilda Booth — Visit to Scotland — Experiments in oils — Rossetti on Craven and Kelmscott — The Heywood Prize. On several occasions during his life Frederic Shields took up his pen — a formidable weapon in his facile hand — to defend his friends or his theories in the Manchester papers. Evidently a letter was inspired on Madox Brown's account, and Brown's unselfish heart being only anxious lest his champion should by this controversy himself suffer in popularity, he wrote on December 23rd, 1869 : — " Your welcome letter has come just as Craven called in this morning to complete, in the shape of a cheque, two fresh and valuable commissions which this truly satisfac- tory man has given me again. " We have been so busy here, and somewhat anxious and bothered to boot, that we have contemplated the approach of Christmas with little thoughts of festivity. We have had no prospects of anyone being disengaged to dine with us that day, and this must to some extent account for our not thinking of you sooner. But indeed you must come yet. Mrs. Brown and all the family are quite determined that you shall. Put up a few things in a bag and come at once on receipt of this. " Knowing how you have served us once before, when you let me know after, that tin alone had prevented you from coming, I make bold to enclose a cheque which I dare say you can get cashed at Manchester. So don't be grumpy but come ; it will do you good, and you will work all the better for it on getting back to your studio. " I read your letter to the paper with infinite pleasure 136 MADOX BROWN AND ROSSETTI 137 and gratitude ; only if I had been present to be asked, I should have advised you not to move in the matter on your own account ; but of all this and more we will talk when you come. Should I say too much now you will have the less inducement. " I have had no time yet to go to your Winter Exhibi- tion, so that I cannot speak of your works ; but I have heard them spoken of by others, some of them with enthusiasm." Rossetti, evidently pleased with the letter to the press, stirred up Mr. Sidney Colvin to follow Shields' example, and wrote : — " I was very glad to see your capital move in respect to Brown's picture at Manchester. I sent it on to Colvin at once, and to-day he writes me word that he has written to the Manchester Examiner. I sent on your letter to him in such a hurry (being at work) that I only read it once, and forgot what you said as to your health ; but, in fact, do not think you said much about it. I hope there was nothing bad to say. Graham's conduct (this part I carefully scored out — so much as the first sheet contained — in sending your letter to C.) seems to me most extra- ordinary, considering how invariably and excellently well he has behaved to myself, and the personal and artistic esteem I have heard him express for you. He is, I believe, now permanently in town again with his family. ... I shall be very glad to have the chance of telling him what I think. I have been in various queer states of health for some time past. My visit to Scotland seemed to do me no good this time. I have just lately been calling on doctors and oculists again, and the latter still say my sight is not really affected ; while the former say much the same as to my health, but speak most warningly as to hours, exercise, and abstinence from spirits, for which Heaven knows I have no taste, but had for a year and a half just fallen into the constant habit of resorting to them at night to secure sleep. I have now relinquished them entirely, and take only at night a medicine prescribed by my last doctor (Sir W. Jenner) — not an opiate, against 138 LIFE OF FREDERIC SHIELDS which he warned me in all forms — and have certainly not slept worse, but rather better, since doing so. I also, when weather is fine, take day walks in Battersea Park ; whereas my habits had long been to walk only at nights except when in the country. For many months I have done no painting or drawing, but have just lately resumed work of this kind, and am proceeding as best I may against the stream of models, who cannot be got or do not come, pitch black days, &c, with such things as I want to be doing. These are chiefly the large picture of Dante's Dream, which I had not yet taken in hand since getting the commission from Graham ; and (! ! !) the old picture of ' Found ' (the calf and bridge subject), which I am actu- ally taking up at last. I have lots of time as yet in preliminary studies for both works ; but hope to get the man's head done in the ' Found ' next week, having found a splendid model, and have also made considerable way towards the bridge background. I am also beginning to make studies again for the picture of ' Medusa,' and hope to get that in hand as soon as the others are fairly under way. Had I a large fine studio, I should now get all my finest subjects squared out from the designs on canvases of the size needed, and take them all up one after the other whenever possible. This plan I shall pursue vigor- ously more or less now, as life wears short, and do I trust few single figure pictures except when shut out from other work by the chances of the hour. Studio-building I have funked hitherto, as the state of my health has induced me to think I might be leaving Chelsea, just after I had got the stables into my possession. I think it most likely, however, that I shall begin building shortly after Xmas, as the landlord has demanded that, failing that, I should put the stables in repair as stables, which would be simply throwing money in the dirt. I have been doing a good deal of work in poetry lately, and shall publish a volume in the spring. I have got 230 pages in print, and want perhaps to add about 100 more. This is hardly necessary, as it is all very close and careful work ; but I daresay it may be some time before I print again, if ever I should wish to do so. At any rate, so much will be off my mind when the thing comes out, and it is certainly the best ROSSETTFS LETTERS 139 work of my life, such as that has been. Have you seen Morris's new volume of the Paradise. It contains glorious things, especially the ' Lovers of Gudrun.' Tennyson's new volume does not enlist my sympathies, except a second ' Northern Farmer,' which is wonderful ; and of course there is much high-class work throughout. " I have not seen your heads at the Water-Colour ; nor indeed do I ever go to any picture shows whatever now, except once in the year to the R.A. Old Brown is doing a water-colour (Don Juan found on the beach by Haidee), which will I think be almost the finest of his works, and certainly by far the most full of beauty. Indeed, to my mind all eight figures are eminently beautiful in face and figure, and the background of rocks and sea is most fascinating. " Ned Jones is doing a crowd of splendid works, though he has sent no sketches to the gathering this time. He was one of the hangers." Madox Brown's cheque did not avail to persuade Shields to spend Christmas in London, and the New Year found him still at Cornbrook, with an occasional visit to Winnington. In April Rossetti wrote asking Shields to help him about a photograph. All his toil with M'Lachlan had given Shields a really extensive knowledge of photog- raphy, and though he always professed his detestation of the art — he would not even have allowed it to be called an art at all — this experience was undoubtedly very useful, and enabled him to be of great service to his friends. In after years he took endless trouble for Rossetti, superin- tending the photography of his pictures and correcting negatives and proofs with the utmost patience and devo- tion to his friend's interest. SCALANDS, ROBERTSBKIDGE, SUSSEX, 11th April 1870. My dear Shields, — Some time back I wrote to a Mr. Mitchell, of Manchester, who possesses that " Venus " of 140 LIFE OF FREDERIC SHIELDS mine with, the roses and honeysuckles, to ask if he would object to its being photographed ; and I ventured to name you as a friend who I thought would be willing, out of consideration for me, to superintend its removal, photo- graphing, and return to its owner. I proposed to save you such trouble by having the loan of it in London ; but to this you will see, by the letter I enclose, he objects. So if you will kindly undertake this for me, I will be much obliged. Any convenient moment to yourself would, of course, do. You will see I am writing from the country, and having none of my photos by me, cannot give you a precise idea of the size I want it done. But you have seen some of them and know the sort of size — fairly large, and, of course, deep tones. Your friend of the Lancashire Committee photo would, I should think, be the very man to make a fine thing of it if worth his while to take the trouble. Of course it is at my expense, not Mr. Mitchell's. One difficulty occurs to me, and that is, that there is a gold nimbus round the head. I wonder if some white powder of some sort could be rubbed over this, or whether there is nothing for it but to let it come black. I hope you will get my volume of poems towards the end of this month, as I have given your name to the publisher. I shall like to know how it pleases you. There is one piece called " Jenny," which gave Smetham a shock when I read it to him ; but I was sincerely surprised on the whole at its doing so in his case, though I know many people will think it unbearable. I myself have included it (as I wrote it) after mature consideration, and could not alter my own impression of the justness of my doing so, knowing as I do how far from aggressive was the spirit in which I produced it, as I should think the poem itself ought to show. I saw your newspaper controversy about Brown some time ago, and thought your part in it excellent. You seem to have a large share of this sort of power, which has grown to be almost a national instinct. I will not write more, as I am not given much to letter- writing at present. I need hardly say that my health brought me here, and that means that there is not much to boast of. I hope you can give a better account of yourself. — Your affectionate D. G. Rossetti. ROSSETTI'S LETTERS 141 Rossetti had offered to let Shields work in his studio, and apparently Shields now contemplated a visit to London. Rossetti's next letter is undated, but was probably a week or so later than the last. SCALANDS, Saturday. Dear Shields, — I shall be delighted for you to work at Cheyne Walk, but am not returning just now. How- ever, I shall be on a flying visit for an hour or two or a day or two (I don't know which) about Saturday, 23rd. I write with this to Dunn to expect you ; he is doing some big work for me which may possibly be taking up the whole space in the studio, but in that case I dare say the little studio upstairs would serve you. However, probably the large one will be at your service. I don't think the " Venus " photo should be bigger than about the size of this sheet opened out at biggest. I see you're frightened of poor " Jenny," my poem, but I assure you I was surprised at Smetham's galvanic alarm, and shall be sincerely so if you share it. The poem was written in a far different spirit from any which should produce such results in thinking men, I believe. Pardon haste, but I am very busy to-day. There was evidently some difficulty about photograph- ing the "Venus"; apparently through the fault of the owner of the picture, for Rossetti writes months later : — June 15th, 1870. Dear Shields, — Have you been able to do anything about the photo of that picture of Venus ? — Your affec- tionate D. G. Rossetti. P.S. — Do you know if the brothers Agnew have really got to hear of that blessed rhyme ? I might wish to be writing them, but shouldn't if I thought they were riled. 142 LIFE OF FREDERIC SHIELDS The " blessed rhyme " was one of Rossetti's nonsense verses — the slightly modified version of this choice specimen given by Shields is as follows : — " There are two bad brothers named Agnew Whose lies would make e'en an old nag new ; The father of lies, with his tail to his eyes, Cries ' Go it, Tom Agnew, Bill Agnew.' " Very perfect of its kind, but hardly calculated to pre- judice the picture-dealers in Rossetti's favour. Shields was evidently suffering much in health and spirits at this period, and no doubt his inability to serve his friend in the matter of the photographer troubled him. Rossetti wrote again in August : — "I cannot easily thank you enough for so much friendliness under such very troublesome circumstances. I now regret extremely that I did not write on receipt of your former letter, as I meant to do, to beg you to take no further trouble in a matter which presented such un- expected obstacles. But I dektyed doing so through excessive preoccupation at the moment, and then thought that it was no use writing, as further steps were probably already being taken. I can now only say that I could never have conceived, from Mr. Mitchell's very straight- forward conduct on former occasions, that he was capable of so much changeableness and disregard of his word. I do not like to make a cause of quarrel with him (after very agreeable relations hitherto) out of a matter which, in itself, is of no importance to me ; but am excessively irritated at having been led on by him into causing you so much disturbance, and on that account write him with this- to express my surprise at his conduct. As far as I myself am concerned, it is well the matter is no more im- portant than it is; but I feel how much apology I owe you for this unpleasantness which I could not have foreseen. " I wish I could say something to any good purpose on what gives me great anxiety, — the infinitely more im- ROSSETTTS LETTERS 143 portant matter of your own affairs to which you make some allusion, and which, I assure you, already often occurred to my mind. . . . Nothing could give me greater pleasure than being able, should such opportunity occur, to be of any service to yourself who have so often served me so warmly and at the cost of so much personal exer- tion. Is there any way suggesting itself to your own mind by which I could be of the least use in forwarding any object you have in view ? If there were, the very friendliest thing you could do would be to let me know. Of your health you do not specially speak, nor do I gather clearly whether what you say of your ' suffering ' from this truly atrocious and insufferable war related simply to what all must feel, or to more direct influences of a baneful kind on your own immediate prospects. Such would doubtless be a possible result for any of us, as there is no knowing the moment at which entrenchment may be forced upon the wealthy classes of this country by the state of affairs abroad, or even at home, and naturally Art goes first to the wall. " You allude in the kindest way to my poetry, and say also that you would like to write me something about 'Jenny.' Pray believe that anything coming from you could only be what I should sincerely desire to hear, whatever its point of view ; only I really think there must be too many affairs of your own to attend to, for it to be worth your while to dwell on my verses except by word of mouth when we meet again, which it would please me much to hope might be soon. The book has prospered quite beyond any expectations of mine, though just lately signs of depreciation have been apparent in the press {Blackwood, to wit). I am only surprised that nothing of a decided kind in the way of opposition should have appeared before. However, I have also been surprised (and pleasantly) to find such things producing a much more transient and momentary impression of unpleasant- ness than I should have expected — indeed I might almost say none at all; particularly as I cannot help, in this instance, putting against the Blackwood article the fact that B. & Co. wished to publish the book and I went else- where. But above all, these things probably do not touch 144 LIFE OF FREDERIC SHIELDS me much for the reason that my mind is now quite occupied with my painting, and has been for some time past. I am making very rapid progress with my large picture of ' Dante's Dream,' about 10 or 11 feet by 7. A big picture is glorious work, really rousing to every faculty one has or even thought one might have, and I hope I am doing better in this than hitherto. In another fortnight or so, I shall have all the figures painted on the canvas, and only the glazing of the draperies left to do. The background is as yet untouched, and before I resume the picture, after bringing it to the completion of the figures as above, I intend to go for a month or so into the country to recruit. However, though I have been working decidedly hard, I find that it chiefly seems to have the effect of consolidating and steadying the beneficial results which my spring trip to the country had already had on my health. I am not at present sensible of any incon- venience with my eyes, though working good hours daily, and have not been for months past. I have often spoken with Brown about you, and I need not tell you what a constant interest he takes in all that concerns you. He himself is, I am glad to think, doing well at present, and is just thinking of an excursion to Newcastle, and perhaps to the Highlands, in company with his wife. He lately finished his large oil picture of ' Romeo and Juliet,' but I did not see it, as he would not show it while in progress, and most stealthily and surreptitiously spirited it away at the last moment to Leathart, who is its possessor. I be- lieve, however, it is one of his best works. . . . " You probably know of Burne- Jones' having left the O.W.C. Society, but probably will be surprised to hear that Burton has now done so also. I believe B. finds it necessary to take larger work, and thinks such scale better suited to oil ; but his warm feeling on Jones' behalf in the differences occurring between him and the Society has doubtless led to his taking the step at this particular moment. . . . " Let me again beg of you, before I conclude, that you will tell me without the slightest reserve of any way that may occur to you in which I could serve you at all. To know that you were happier would be a real encourage- ment to me." CHALK DRAWINGS 145 In the autumn of 1870 was made the chalk drawing " A Royal Princess," the subject being taken from Christina Rossetti's noble poem. The picture was bought by Sir William Houldsworth. In the Graphic, December 17th, 1870, was reproduced the large water-colour of "Knott Mill Fair." On November 29th an interesting entry is on the only page preserved of the diary for this year : — " Alteration to ' Hide.' To town to see Agnew's exhibition. Mounted Falkner's drawing. Head of Matilda on green paper — rather a failure." Matilda Booth, then aged about twelve years, was destined to be the artist's wife. "Hide" was a water- colour, bought by Mr. Craven. In the New Year Rossetti writes : — " Your letter was, as you knew beforehand, a real relief to me. It drives away the uneasy feeling inevitable lately whenever your friendly image recurred to my mind, and substitutes a satisfactory one. I can readily imagine with what joy you will attack your favourite subject after a long being kept at bay of it, and have no doubt of good results. As to the Water-colour Gallery, your work would draw me there if anything would, but I must say frankly that I do not expect to get there. I have got into such an absolute and undeviating habit of working all daylight somehow — whether on just the work I want to do or not — that I literally never go anywhere except once in the year to the R.A. modern exhibition, and once nowadays to the Old, which I have not yet accomplished this year. I lately saw at Graham's your two chalk drawings of Night and Morning, and thought them full of fine quality and more decided in sense of facial beauty than any pre- vious work I had seen of yours. I find now that it was quite a mistake to draw on that dark blue grey paper. It necessitated endless work to keep the ground down, and even to the last it always came through. The greenish paper (from Winsor & Newton — specimen enclosed) is much the best for the purpose which the English makers afford — I have tried several. Unfortunately the rule is K 146 LIFE OF FREDERIC SHIELDS that as in France they never make a bad tint whether cheap or dear, in England they never make a good one. This, however, has no decided objection when covered, except that I very much regret to say it has a tendency to fade and turn yellow in parts. I don't know whether this is likely to cause any decided injury to the drawing, or whether it would go further underneath the chalk. Sometimes the paper seems to hold out for good, and sometimes to go in this way in spots almost at once. I have complained to W. & N., and they said they had heard of it before, and referred to the makers, who say it cannot be guarded against with this tint. However, there is really no other tint fit to use, so I go on with it. " I'm glad Mitchell has expressed to you some sense of his being in the wrong. I expressed to him very de- cidedly by letter the awkward position in which he had placed me towards you after all the trouble you so kindly took. I should really hesitate to mix you up with the matter again, even if you were kindly willing. Perhaps the best thing would be to see if he will lend the picture to show with the large one when finished, and a few others recently completed, when I shall be asking friends to come and see. It could then be photographed at the same time. I don't suppose I shall get up any kind of public show this year, but most likely next — only of a few weeks — and shall then have one other large one at least ready — I hope the ' Magdalene.' The big ' Dante ' is approaching completion, but won't, I suppose, be done quite so soon as I thought, as I knocked on lately to finish several other things long on hand — viz. Beatrice, Sybylla Palmifera, and Mariana with boy singing (Measure for Measure), all of which, you may remember, begin as life-sized things. These three are finished, and I am now finishing ' Pan- dora.' I think all show great advance in colour and execution, and that the big picture will be much the best thing I have done, in spite of the dissatisfaction accom- panying without fail the close of a work, and now be- ginning to set in with me. Perfect it won't be, but better it will be. " I have heard from Mr. M'Connell about his water- colour, asking if it was sold again. I mislaid his letter CORNBROOK THREATENED 147 with address and have not answered, but it is no use my writing letters about it till sold, which is not as yet. Hardly any one comes to my place now, as I have so long been engaged on work which I decline to show, and people have got sick of my sulks. "I've not seen dear old Smetham for centuries, but must try and do so. I'm glad he's stood by you, as I knew he would not fail to do if possible. I feel as if I chiefly among your friends had not succeeded in being of any service to you in your time of trial, after all the good turns you have done me. . . . " Scott showed me a letter of yours in a Manchester paper sent to him, where his name occurred in a manner so well deserved, and I am sure gratifying to him. What a horrid set they seem "to be there ! Scott is my near neighbour now, having bought Bellevue House, a very fine old mansion twice as big as this and just opposite Battersea Bridge. He is a great acquisition. And by the bye, I may as well just mention, in case you had any thought of returning to London, that Scott has a separate building at the back of his house (very noiseless, I should think) admirably fitted for a studio, but which he does not use at all, having a good one in the house. I should think (though I don't know at all) that he might possibly be willing to let it to a quiet congenial inmate like your- self. Boyce, as I dare say you know, has built himself a house (by Webb) at the end of Cheyne Row, so Chelsea is gradually filling." Depression and ill-health continued during the early part of this year ; one great trouble was that the secluded old house in which Shields hoped he had found a per- manent abode was wanted for Government offices. He began to be much agitated as to his coming eviction; this probably was the cause of the illness alluded to in Madox Brown's next letter, dated July 6th. " I have this moment received your kind and sad letter. I shall not write a long one in return, but just tell you that I shall remember to communicate with Rossetti and 148 LIFE OF FREDERIC SHIELDS Smetham. You can imagine how much we are all pained at such bad news of your health, and how fervently we trust it will improve with the fine air of Argyllshire. . . . We are about to proceed to Dartmouth, in Devonshire, for four weeks. Once there, I will write again with our address. But cannot your friend who is with you write for you and say how you are ? If it is M'Lachlan, give him my kindest regards, and say I should be much obliged by a line saying how you are." There is no record of any Scotch visit, except two or three undated sketches of Highlanders, and Madox Brown's next letter, which seems to point to such a journey having been taken. Lynn Cottage, Lynmouth, Devon, 26th July 1871. My dear Shields, — I feel very anxious to know how you are getting on, your last letter was so discouraging in tone. Please let some one write if only a line just to say how you are. We have been here just two weeks on the north coast of Devonshire. It is a most lovely spot, but we find it the reverse of bracing. . . . Rossetti is down in Oxfordshire, William Rossetti gone to Italy, Morris to Iceland, everyone somewhere. We shall be back in London this day fortnight. This is one of the places Shelley was at with his wife Harriet, when he was about eighteen and she sixteen. We have found an old woman who remembers them perfectly. I am going to draw her ; Miss Blind is to make an article about her. We have got some new facts from her. All unite with me in hoping you may be much better by this time. Let me hear something before long. I have lost your Scotch address, so have to address to Manchester. In October Shields was again searching for a new house, uncertain whether to stay in Manchester or again try London, which had now so many attractions for him. At one time Liverpool seemed a likely place, and various MADOX BROWN'S ADVICE 149 secluded spots were recommended to him by different friends. To one of his temperament the fact of his being obliged to leave the house which suited him so well was quite sufficient to account for his having been " much disturbed," as Madox Brown says in his next letter, dated October 18th, 1871. " Many thanks for your kind, long letter, which I am afraid cost you more trouble than I deserve, but I was just getting anxious at hearing nothing of or from you. I hope you will fix on coming to town, now that you have given up your lodgings — house, I mean. I do not see that you have any advantages in Manchester which you might not have in London, and I believe you might get chambers either in the Temple or some of the Inns of Court, where you might be perfectly quiet and at less expense than you have been in your house. Will you not pay us a visit before deciding ? I ought to have pressed this on you before, but I did not know (from your letters) if it would have been good for you ; and I have been very much absorbed of late in my own bothers, so that the time has slipped away. " You seem to have been much disturbed of late in some way or other, but 1 shall not trouble you with questions and leave it to you to explain matters, if you care to do so, when we meet. " Rossetti has nearly finished his great work and written a deal more poetry. The picture is, as you sur- mise, a perfect success ; at least it is becoming so within the last few days. At first when I saw it, some three months ago, it was admirable as to the figures and in all separate parts, but the general effect was very unsatis- factory ; now it is coming quite right. "As to the Benzine process you ask about, I must tell you that it is quite given up by Gabriel and myself as a process. However, for rapidly laying in a large picture, a la Watts, it certainly does offer advantages, but not all those it was boasted of possessing. An absorbing ground is the first consideration, yet this is no absolute necessity ; next, some white and other colours, rather stiffish, is con- 150 LIFE OF FREDERIC SHIELDS sidered desirable, but by no means indispensable. You may put such colours as you most use for laying in on blotting-paper, and so stiffen them. The most important matter is to mix your quantum of benzine for the day with one-eighth part of oil, and shake it well up in a little bottle. This prevents it all flying off into the air, to your danger and detriment. You must be careful with your benzine not to put it open under a light, as the whole may explode and burn you up. " There is nothing else of much importance. If you trust too much to benzine and do not use enough medium or varnish, your work will either wash off or crack off, as many of Watts' have done." The above suggests that Shields was now experiment- ing in oils, but he also produced several water-colours this year, including a portrait of Miss Carver, " Sweet Mary," and "Calypso" (both purchased by Mr. M'Connell), an " Angel of the Annunciation," and two or three drawings for Punch ; the largest of these, however, was not pub- lished until 1875. It must have been somewhat hard for him to decide the rights and wrongs of the "hobble" Rossetti now de- scribes ! Mr. Craven was certainly entitled to a little sympathy. 16 Cheyne Walk, 15th Nov. 1871. Dear Shields, — I was very glad, as always, to hear from you at such friendly length and to such friendly purpose. I wish heartily you were here, for a selfish reason as well as for others ; for I should take a thorough pleasure in showing you my large picture, as the only thing (with all its faultiness) in which I ever tried com- pletely to test (by unflinching efforts to get a work on a good scale right in the end) what my powers for the time being might be. It is really much better, I know, than anything I have done yet, though I am very far from being blind to its shortcomings. I am about immediately ^s